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0 Streaming Now! Canadian Prog Death CONFLUX COLLECTIVE’s New Album “In the Wake of Saturn” (ft. members of ex-Augury, ex‑Decrepit Birth, Derelict, Gross Misconduct, Continuum and more!)

June 18, 2026
by Asher
· Uncategorized

NEWS RELEASE

Montreal, QC – June 18, 2026

Streaming Now! Canadian Prog Death CONFLUX COLLECTIVE’s New Album “In the Wake of Saturn”

(ft. members of ex-Augury, ex‑Decrepit Birth, Derelict, Gross Misconduct, Continuum and more!)

L-R – Max Lussier, Jesse Brint, Mallika Sundaramurthy, Tommy McKinnon, Eric Burnet, Jeffrey Mott

PHOTOGRAPHER CREDITS: Joe Diaz, Derek Carr of Visionsinpixels, Mat Barbeau, Tania Hébert

After years of dormancy, reinvention, and sheer determination, Conflux Collective unleashes its long‑anticipated debut full‑length album, “In the Wake of Saturn”, available digitally and on CD and Vinyl on June 19th, 2026.

And before it officially releases, check out its full stream premiere on BraveWords HERE.

Born from a chance reunion between drummer Tommy McKinnon (Derelict, Akurion, ex‑Neuraxis, ex‑Augury) and guitarist Chase Fraser (Continuum, ex‑Decrepit Birth, ex‑Animosity) after a King Diamond show in Montreal, Conflux Collective has always been something different, a project built on spontaneity, collaboration, and the collision of extreme voices.

What began as an unexpected jam session years ago has now evolved into a fully realized underground force.

“In the Wake of Saturn” is the culmination of a long creative journey marked by setbacks, reinvention, and unwavering resolve. After the project fell dormant, McKinnon resurrected it from the ground up, writing new material, reconstructing old tracks, recording all bass parts by ear, and crafting lyrics drawn from deeply personal experiences.

To bring the album to life, he assembled a powerhouse lineup of vocalists whose performances define the record’s emotional and sonic assault: Jesse Brint (Gross Misconduct), Mallika Sundaramurthy (Emasculator, ex‑Abnormality), Jeffrey Mott (The Monster Factory, Growlers Choir), Eric Burnet (Derelict, Samskaras), Max (Derelict), who also contributes a blistering guitar solo. Each vocalist adds a distinct identity, turning the album into a multi‑dimensional narrative rather than a traditional death‑metal record.

Across its eight tracks, “In the Wake of Saturn” channels the raw ferocity of ’90s death metal through the precision and ambition of modern technical death metal, forging a sound McKinnon defines as “progressive, brutal, technical, melodic, uncompromising.” The album moves through themes of loss, fear, survival, and rebirth, unfolding as a transformative listening experience where each song feels like a chapter in a larger narrative. Shifting vocal perspectives, intricate drum work, and a balance of atonal violence and melodic clarity guide the listener through its evolving landscape. As vocalist Jesse Brint put it, “…it’s a journey.”

That journey begins with the ferocious opener “The Antidote”, a blast of brutal energy featuring some of McKinnon’s most demanding drum performances and a searing vocal delivery from Eric Burnet. From there, the album descends into the doom‑leaning weight of “Devouring Light”, a groove‑driven, darkly atmospheric piece crowned by one of Fraser’s most expressive solos. “Reincarnation” follows as a technical, emotionally charged centerpiece that mirrors the rebirth of the project itself. The title track, “In the Wake of Saturn”, delivers the album’s fastest and most direct assault, embodying the transformative force at the heart of the record. Finally, the journey closes with “Desperate Post‑Humanist”, the album’s most layered composition, an expansive and unsettling dialogue between man and machine that ends the record with haunting finality.

Mixed by Jeanne Comateuse, the album stands as a testament to perseverance and artistic integrity. Despite setbacks, lineup changes, and years of uncertainty, “In the Wake of Saturn” exists because the collective refused to let the vision die.

“This album is a journey through pain, fear, defeat, survival and finally rebirth… a true underground monster, made for those who appreciate and seek the unusual,” adds McKinnon.

Recommended for fans of Cryptopsy, Necrophagist, Decrepit Birth, Augury, and Beyond Creation, “In the Wake of Saturn” will be available at the following links:

Album pre-save – https://confluxcollective.bandcamp.com/

Vinyl and CD pre-order – https://elasticstage.com/confluxcollective

Merch / Apparel available – https://confluxco-shop.fourthwall.com/

Lyric Video – Reincarnation – https://www.youtube.com/watch?v=Nce0-kz3nTk

Lyric Video – Devouring Light – https://www.youtube.com/watch?v=skYaLYoVjX8

Track Listing:
1. The Antidote – 3:02
2. Devoid of True Form – 2:39
3. Ethereal Executioner – 4:45
4. Devouring Light – 4:59
5. Blood from a Rock 4:18
6. Reincarnation – 3:20
7. In the Wake of Saturn – 2:29
8. Desperate Post-Humanist – 5:18
Album Length: 30:53

Album Band Line-up:
Guitar: Chase Fraser (Continuum)
Vocals: Eric Burnet (Derelict), Max Lussier (Derelict), Jesse Brint (Gross Misconduct), Mallika Sundaramurthy (Emasculator), Jeff Mott (Hollow, Monster Factory)
Additional guitar, bass, and drums: Tommy McKinnon
Track 1,2, 3, 6. Music: Chase Fraser. Lyrics: Tommy McKinnon
Track 4. Music: Chase Fraser. Lyrics: Jesse Brint
Track 5, 7. Music & Lyrics: Tommy McKinnon
Track 8. Music: Tommy McKinnon. Lyrics: Eric Burnet

More info:

https://www.facebook.com/confluxcollective

https://www.instagram.com/confluxco/

About: Formed in Montreal after a chance post‑show encounter, The Conflux Collective is a progressive technical death‑metal project built on collaboration, experimentation, and emotional depth. Featuring contributions from some of the genre’s most distinctive vocalists, the band blends the ferocity of old‑school death metal with the precision and ambition of modern tech‑death. In the Wake of Saturn marks their first full‑length album.

Album Recording Credits:
• All songs performed by: Conflux Collective
• All songs written by: Conflux Collective
• Produced by: Tommy McKinnon
• Mixed by: Jeanne Comateuse at Magma Art & Sound
• Mastered by: Jeanne Comateuse at Magma Art & Sound
• Album Artwork by: Filip Ivanovic
• Member of SOCAN

Affiliated links:

Mix engineer: https://magma-sound.com

Derelict: https://derelictmetal.bandcamp.com

Akurion: https://akurion-ca.bandcamp.com/album…

Emasculator: https://www.instagram.com/emasculator_bdm

Mallika: https://www.instagram.com/mallika_sun

Gross Misconduct: https://grossmisconduct.bandcamp.com

The Monster Factory: https://www.themonster-factory.com/en

Coma Cluster Void: https://comaclustervoid.com

– 30 –

“The song’s (Devouring Light) opening moments create tension and are viscerally frightening. They combine wrenching howls, swaths of eerily ringing guitar, immense groaning bass tones, and methodically bludgeoning beats. As the growled words (also frightening) cut loose, the tension doesn’t really break but the music morphs. The dissonant notes miserably writhe and dart away in strange angles; the drums variably clatter and slug in ways that both exacerbate the music’s feeling of dementia and create a vivid rhythmic counterpoint to the increasingly hallucinatory effect of the fretwork. A shrill and swirling guitar solo rises up, creating its own kind of ecstatic counterpoint to the music’s chilling manifestations of confusion and despair. Yet those very same melodic motifs that make the music so unsettling also turn out to be hooks: as they surface and re-surface, strangely ringing and warping, they dig in — as the bass-and-drum performances continue landing body blows while creating their own mystifying attractions. Although this song, unlike the album’s first single, isn’t a high-speed cavalcade of technically eye-popping adventurousness, it’s still a technically impressive exercise, one that deploys the musician’s technical skills to create chilling hallucinatory effects.” – No Clean Singing

“Centered around guitarist Chase Fraser (Continuum, ex‑Decrepit Birth, ex‑Animosity) and drummer Tommy McKinnon (Derelict, Akurion, ex‑Neuraxis, ex‑Augury) and featuring guest appearance contributions from members of Gross Misconduct, Emasculator, Samskaras, Hollow and Monster Factory, the Conflux Collective is a true collective that puts ’90s lensed, technical death metal in its creative crosshairs.” – Decibel Magazine – Track Premiere: Getting Cosmic with The Conflux Collective’s “In the Wake of Saturn”
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0 GANNONDORF Crowned WACKEN METAL BATTLE USA 2026 Champions! Set To Play WACKEN OPEN AIR!

June 17, 2026
by Asher
· Music News · Uncategorized · Wacken Metal Battle USA

NEWS RELEASE

Montreal, QC – June 17, 2026

GANNONDORF Crowned WACKEN METAL BATTLE USA 2026 Champions! Set To Play WACKEN OPEN AIR!

Photo Credit – C.Huerta.Photos

One band has conquered them all! Wacken Metal Battle USA proudly crowns San Diego’s GANNONDORF as the 2026 champions. The band now seizes a coveted slot at Wacken Open Air, one of the world’s most iconic and influential metal festivals, and will advance to the international Wacken Metal Battle, where rising bands from across the globe unleash their headbanging, mosh‑ready power before a massive sea of metalheads gathered from every corner of the world.

The Wacken Metal Battle USA 2026 National Final brought together the top six bands from across the country after months of battles in cities nationwide. Representing the fiercest underground metal the United States has to offer, the final contenders were FATE DEFINED (Spokane, WA), NEMESIS (Houston, TX), GANNONDORF (San Diego, CA), RAMTHA (St. Petersburg, FL), THE VICTORIOUS DEAD (New York, NY), and THROUGH THE OCULUS (Apple Valley, CA).

After taking the stage on June 13th at Brick By Brick in San Diego, CA, before a crowd of metal‑hungry fans and a panel of industry judges including Rod Kukla (Silver Lining Music), Martin Koller (Prophecy Productions / SPKR Media), and Kelly McLauchlin (Pessimist), only one band could claim the title of WMBU 2026 Champion. GANNONDORF delivered with unrelenting fury, winning over both judges and fans to seize the crown.

WMBU organizer Eric Dow comments:

“Once again, we had a successful battle. 41 shows with over 200 bands competing. The National Final was full of talent, energy, and an overall sense of pride in our underground US bands. Thank you to all the judges, venues, media partners, promoters, bands, and, of course, the fans for making this thing happen every year. Special shout-out to Salman, Jon Asher, and Dean Guitars. Best of luck to Gannondorf at Wacken and best of luck to the rest of the bands as they move forward with their careers.”

Judges Rob Kukla, Kelly McLauchlin, and Martin Koller add:

“My fourth time judging the USA final, and I can honestly say the quality of the finalists was the best ever. Good luck to the winner, Gannondorf, in their final metal battle at the legendary Wacken Open Air.” – Rod Kukla

“What an amazing night… all the bands brought great energy, and were extremely talented – the best from all over the country – and it was fierce competition… some of the most brilliant performances I’ve seen. I know the judges agree that it was a very, very close battle, and it literally came down to fractions of a point to determine the winner. Congratulations to Gannondorf, and we wish them all the best as they represent the USA this year at Wacken!” – Kelly McLauchlin

“Congratulations to Gannondorf, the winner of the Wacken Metal Battle National Final! The final was a tight race; there were 4 bands just one point apart. Let’s push thumbs and hope Gannondorf will also rule at the Wacken Festival in Germany” – Martin Koller

Listen to all the USA national final bands on the WMBU 2026 Final Spotify Playlist – https://open.spotify.com/playlist/14751T41YocZkJCVUJWcjL?si=HGcF4x2xRXKHWR8PEaXy5w

The 2026 WMBU champion will receive the following:
– A slot at the 2026 Wacken Open Air Festival.
– Full professional backline provided.
– $1,000 USD towards flights to Germany.
– VIP camping at the festival.

Previous WMBU national winners: Mourning High (2025 – Southern California / Arizona), Cascade Effect (2024 – San Diego), Fadrait (2023 – San Diego), Mythraeum (2022 – San Diego), Monarch (2019 – San Diego), Voices of Ruin (2018 – Anaheim), and Corpse Hoarder (2017 – Philadelphia).

For the last seven years of battles (2017-2019, 2022, 2023, 2024, 2025), Wacken Metal Battle USA has hosted battles across the country to send one independent metal band to perform at the world’s largest metal festival, Wacken Open Air in Wacken, Germany. 2019 saw the festival celebrate its 30th anniversary, but due to COVID, the 2020 and 2021 editions were both canceled. As the metal community regains its strength, Wacken Open Air 2026 will be the 35th edition of the festival and will be held from July 29th to August 1st. The 2026 event is already sold out with a line-up that includes Def Leppard, Lamb Of God, In Flames, Powerwolf, Emperor, Sepultura, and Running Wild, among others. Details here.

Wacken Metal Battle USA is part of an international competition that sees bands from across the country battle each other for the chance to win their spot among over 55 other countries’ champions and represent the USA in an international battle of the bands at the world’s largest outdoor metal festival: Wacken Open Air. The battles have been hosted at the festival for over a decade and allow independent bands to showcase their talents to an international audience, along with the chance to win multiple prizes.

How it works:
Participating cities will host qualifying rounds plus a city final organized by a local city concert promoter, where one band will move forward to the American national final (date and city to be determined). The winner of the national final will advance to perform at Wacken Open Air 2026 and compete against the winners of international bands from around the globe in a major international battle. All bands will be judged during battle rounds by respected local music industry representatives.

About Wacken Open Air:
Wacken Open Air is the largest heavy metal festival in the world. Starting with 800 visitors in 1990, nowadays 85,000 fans from all over the world travel to Wacken every year, turning the small village in Schleswig-Holstein into the center of the festival scene for several days. The organizing WOA Festival GmbH is connected to a broad network, including band management, the Wacken Foundation, tour booking, music publishing, Travel & Stay, merchandising distribution, and ticketing. In cooperation with partners, these results in creative solutions and ideas that revolutionize the festival experience, enable technical innovations, and produce extraordinary event concepts. Wacken Open Air 2026 will take place from July 29 to August 1, 2026.

About the bands:

GANNONDORF (San Diego, CA) (2026 WMBU Champion) – https://www.facebook.com/Gannondorfmetaloffical

Gannondorf is an avant‑garde black metal project from the San Diego/Escondido, California area, originally formed in 2008. The band began as a fusion of black metal and video‑game‑inspired themes, later evolving through a period under the name Gravespell before returning to their original identity in 2020. Their music blends experimental, gothic, and extreme‑metal elements, drawing on dark, apocalyptic, and fantastical themes. Gannondorf’s most notable release is The Nightmare Institution (2024), an eight‑track, hour‑long album praised for its technical guitar work, atmospheric horror‑driven aesthetics, and genre‑blending approach. The project remains active and independent, continuing to expand its sound while maintaining a cult following within the California extreme‑metal underground.

FATE DEFINED (Spokane, WA) – https://fatedefined.com/about-us-epk

Fate Defined is a heavy metal powerhouse from Spokane, Washington, formed in late 2020. Blending modern aggression with old‑school thrash, they aim to define the Pacific Northwest metal sound. Their debut EP, World in Flames, dropped in May 2024, fueling a run of headlining shows, festivals, their first music video, and a tour that included the historic Knitting Factory. The band kicked off 2025 with multiple sold‑out shows, including a support slot for (Hed) P.E. The quintet continues to hit stages while writing their next record.

NEMESIS (Houston, TX) – https://www.nemesisriffs.com/

NEMESIS began as the brainchild of guitarist Nick Broussard, who started writing music soon after picking up the instrument at 13. Through high school collaborations and the unexpected isolation of COVID, Nick wrote an entire album and shaped the band’s identity before lineup changes stalled their early momentum. After reconnecting with drummer Alex and teaming up with Reagan and Ezra, the revived lineup recorded and released their debut album False Reality in summer 2023. The band quickly hit the stage, opening for major acts like Fueled by Fire, Metal Church, Armored Saint, EYEHATEGOD, Goatwhore, and Accept while performing across Texas, Louisiana, and Oklahoma. Now finishing their second album, NEMESIS enters the 2026 Wacken Metal Battle as the reigning Texas State Champion, heading to San Diego to compete for the national title.

RAMTHA (St. Petersburg, FL) – https://linktr.ee/ramthabandfl

Ramtha is an extreme‑metal band from St. Petersburg/Tampa, Florida, known for fusing death metal, thrash, grind, and hardcore into a high‑intensity hybrid sound. Active since 2022, the band has carved out a distinct identity within Florida’s extreme‑metal scene. They’ve released two EPs, Void Tyrant (2023) and Through Eyes of Death (2024), and are currently developing a third EP slated for 2026. Ramtha has earned a reputation for explosive live performances, frequently hitting Tampa’s Brass Mug and sharing stages with major acts such as Exhorder, Crypta, Worm, Gruesome, Artillery, Killing Addiction, Bandit, Gillian Carter, Dayglo Abortions, and Hong Kong Fck You. With momentum continuing to build, the band remains a rising force in the underground.

THE VICTORIOUS DEAD (New York, NY) – https://linktr.ee/hailtvd

Founded in 2023 by guitarist Jonathan Theriault, The Victorious Dead is on a mission to unleash crushing and melodic metal upon the world. Joined by drummer Jude Austin and bassist Andrew Klabin, the band released their debut EP Life of Death in June of 2024. The Sound The crushing impact of The Victorious Dead’s sound is not at all compromised by their catchy hooks and breathtaking moments. With influences such as Iron Maiden, Amon Amarth, Mastodon, and Enslaved, both musicality and demolishing riffage take top priority.

THROUGH THE OCULUS (Apple Valley, CA) – https://www.facebook.com/profile.php?id=61572792274421

Through the Oculus is a female‑fronted metal band from Apple Valley, California, formed in 2017. The group blends powerful vocals, melodic guitar work, thunderous bass, and driving drums into a modern heavy‑metal sound that quickly sets them apart in the Southern California scene. Within a short time, they began performing at iconic venues including The Viper Room, Whisky a Go Go, and Adelanto Stadium, building momentum through high‑energy live shows. Their self‑titled debut album showcased a dynamic mix of hard‑rock and metal influences, earning attention for its blend of personal lyrical themes and fictional narratives of quests, revenge, sacrifice, and destruction. The band continues to write new material and perform actively, solidifying their reputation as one of the region’s rising heavy‑music acts.

More info:
Metal-Battle.com
MetalBattleUSA.com
Facebook.com/metalbattleusa.official
X.com/MetalBattleUSA
Instagram.com/wmbusa.official

– 30 –

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0 LITTLE KING Updates July West Coast Tour Dates in Support of New Album “Lente Viviente”

June 2, 2026
by Asher
· Little King · Music News · Uncategorized

NEWS RELEASE

Montreal, QC – June 2, 2026

LITTLE KING Updates July West Coast Tour Dates in Support of New Album “Lente Viviente”

L-R – Tony Bojorquez (Drums), David Hamilton (Bass, Cello), Ryan Rosoff (Guitar, Vocals)

Arizona’s Little King, the dynamic, melodic, progressive, heavy‑rock trio helmed by songwriter‑guitarist Ryan Rosoff, will hit the road this July for a string of West Coast U.S. dates in support of their latest album, “Lente Viviente,” released in September 2025. This run marks the band’s second major tour cycle since completing the record, following their early‑year shows across New Mexico, Texas, Arizona, and even a surprise pop‑up performance in Mexico. (Their full tour diary is available at https://littlekingtunes.com/2026/03/little-king-march-2026-tour-diary-power-shortages-ibuprofen-and-gratitude/.)

In addition to the tour, Little King will reveal a brand‑new single later this summer titled “Opus Perficit,” the first new music to follow “Lente Viviente” and a preview of the band’s next creative chapter.

Rosoff calls Lente Viviente “BY FAR our biggest release,” and the upcoming dates promise to bring that momentum to the West Coast.

“Lente Viviente” represents a major creative leap for the long-running project. With new members Tony Bojorquez (drums) and Dave Hamilton (bass), plus a fresh studio environment, Little King crafted what Rosoff describes as their most accomplished work to date, musically, lyrically, and emotionally.

The album’s title, Spanish for “Living Lens”, is a nod to Rosoff’s video memoir company, LivingLens Memoirs, and sets the thematic tone. Across its tightly constructed “micro-epics,” the record explores memory, identity, perception, and the shifting filters through which we understand ourselves and others.

Fans can expect a listening experience Rosoff likens to “a short, mind-blowing journey…like Musical DMT.”

The album’s lyrics move across a wide emotional and social landscape, touching on themes of childhood and enduring friendship (“Catch and Release,” “Dawn Villa”), immigration and identity (“Who’s Illegal?”), aging and addiction (“Pass Through Filters”), and the balance between strength and vulnerability (“Kindness for Weakness”).

Musically, the record blends progressive rock, hard rock, and melodic hooks with the band’s trademark precision and dynamic push-and-pull. Each track is densely arranged yet concise, with most songs clocking in under four minutes.

Little King’s live reputation is built on meticulous preparation, tight musicianship, and explosive energy. Ryan, Tony, and Dave bring decades of combined experience to the stage, delivering performances that are both technically sharp and emotionally charged.

Fans can expect high‑level musicianship, dynamic setlists, and a live show that’s both polished and unpredictable, what Rosoff describes as “meticulous, rehearsed, and RAGING with push and pull energy…PROS with experience.”

The band will perform across key West Coast cities, bringing “Lente Viviente” to life on stage for the first time.

Little King – West Coast USA Tour 2026
July 10 – Ruidoso, NM – Downshift Brewery Riverside
July 12 – Tucson, AZ – Brick Box Brewery w/ The Crown Syndicate and Zold
July 14 – Tempe, AZ – Yucca Tap Room
July 15 – Anaheim, CA – The World Famous Doll Hut
July 17 – San Diego, CA – Tower Bar w/ Stretcher
July 18 – West Hollywood, CA – The Viper Room
July 19 – Pacifica, CA – Winters Tavern w/ The Wandering Jews and Melting Elephants
July 23 – Bisbee, AZ – Gene’s Place
July 25 – El Paso, TX – Lowbrow Palace

With influences ranging from Rush, Porcupine Tree, Pink Floyd, Muse, Led Zeppelin, and Night Verses, Little King’s music resonates with fans of both classic and modern rock. Their new album “Lente Viviente” (released Sept 26th, 2025) is available on digital platforms.

Add to your Spotify playlist – https://open.spotify.com/album/3a3zhTxNkC6u9xaD5gytJe

Music Video – Who’s Illegal? – https://www.youtube.com/watch?v=cTh1THFdij4

Lyric Video – Dawn Villa – https://www.youtube.com/watch?v=Ksxlb2ekYIM

Lyric Video – Catch and Release – https://www.youtube.com/watch?v=Hgt9U547jbw

Studio Video – Keyboard Soldier – https://www.youtube.com/watch?v=VhDSUpl6PW8

Track Listing:
1. Catch and Release – 3:22
2. Dawn Villa – 3:42
3. Who’s Illegal? – 3:56
4. Kindness for Weakness – 3:21
5. Sweet Jessie James – 2:42
6. Pass Through Filters – 4:50
7. The Living Lens – 3:37
Album Length: 25:34

For more info: https://littlekingtunes.com/

-30-

“Overall, this band showcased a sophisticated sense of melodies that were not overly complicated, but easy to assimilate as well. Not being familiar with them, I am surprised to learn of their longevity, and you wouldn’t know this was their eight album, because the drive and fire in them is very much alive in their music. 8/10” – Metal Temple

“Little King maintain high intensity from start to finish, achieving a rare balance between complexity and immediacy. Each track has its own identity and emotional range, and the musicianship and production are consistently top-tier. According to Rocky, Lente Viviente is essential listening for prog and heavy-rock fans who miss the spirit of Saga, Rush, and King’s X.” – Metalized

“Seven songs, clocking in at just over twenty-five minutes Little King pack a powerful and melodic cocktail of prog, rock and alternative. If Rush jammed with REM and King’s X it would sound a little like this. Impressive.” – Get Ready To Rock!

“Little King hasn’t just released an album; they’ve crafted an immersive, emotional journey that rewards every listen.” – Jace Media Music

“Long-running Progressive Rock outfit Little King is unveiling “Dawn Villa,” the second single from their highly anticipated eighth studio album, Lente Viviente! A sonic time capsule wrapped in staccato riffs and melodic crescendos, “Dawn Villa” is a heartfelt tribute to frontman Ryan Rosoff’s formative years in Mercer Island, Washington. The track comes from their eighth album Lente Viviente, which is available for pre-order/digital pre-save now at the links below, and releases September 26th, 2025. If you grew up obsessed with the classic seventies prog rock greats like Rush, King Crimson, and Pink Floyd, with a modern flare for drama such as Muse or Neal Morse, Little King deserves your attention! ” – Ghost Cult Magazine

“The album reflects a stylistic maturity that has strengthened over time and a layering of ideas that have, on this occasion, found a stable place. The project’s artistic perspective rests on very solid technical foundations and a strong will to celebrate the traditional principles of classic rock, while also flirting with progressive elements and ultimately making the most of a decidedly pronounced melodic inclination. An absolutely original point of view that has given rise to an elegant and refined sound, capable of effectively combining electric jolts and delicate harmonies in the spirit of a truly contagious passion.” – Rock Hard Italy

“Over nearly three decades, Little King has evolved from the El Paso roots of “Transmountain” to the intricate, personal soundscapes of “Lente Viviente,” blending complex arrangements, strong melodies, and lyrical depth.” – Progressive Rock Journal

“Lente Viviente is as striking as it is arousing and easy to suggest a must for all rock appetites. LITTLE KING seem to know how to feed every instinct and want with their eclectic enterprise and at the same time spring something strikingly new, the proof all there in Lente Viviente.” – The Ringmaster Review

“Tucson progressive rockers’ Little King are gearing up for the release of their 8th studio album, ‘Lente Viviente’ on Sept. 26th and have also just dropped their first single from the album, ‘Catch and Release’. This band truly pushes boundaries and yet makes modern prog rock very accessible. That is a difficult feat and a challenge many bands can’t overcome. But these fellas make it sound very simple, even though the music is quite complex. Similar to YES in that every instrument, including the vocals, all seem to be doing their own thing…but somehow it all works beautifully, and that is what good prog is about. Listen up for Little King on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll

“”Lente Viviente” is a great release, very short of course, but still atmospheric and moving. Overriding the higher-faster-further mentality in such a playful way deserves respect, and the men deserve it again with their eighth appearance overall.8/10″ – PowerMetal.de

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0 Canadian Progressive Death THE CONFLUX COLLECTIVE Unleashes “Devouring Light” From New Album “In the Wake of Saturn” Out June 2026

June 2, 2026
by Asher
· Conflux Collective · Music News · Uncategorized

NEWS RELEASE

Montreal, QC – June 2, 2026

Canadian Progressive Death THE CONFLUX COLLECTIVE Unleashes “Devouring Light”

New Album “In the Wake of Saturn” Out June 2026

L-R – Max Lussier, Jesse Brint, Mallika Sundaramurthy, Tommy McKinnon, Eric Burnet, Jeffrey Mott

PHOTOGRAPHER CREDITS: Joe Diaz, Derek Carr of Visionsinpixels, Mat Barbeau, Tania Hébert

Montreal’s extreme‑metal collaborative force Conflux Collective will release its long‑anticipated full‑length album “In the Wake of Saturn” on June 19th, 2026. The record marks the resurrection of a project once thought lost to time, rebuilt from the ground up by drummer, composer, and producer Tommy McKinnon (Derelict, Akurion, ex‑Neuraxis, ex‑Augury) after years of dormancy.

The album’s second single, “Devouring Light,” arrives next after the release of the first single and lyric video “Reincarnation.”

This second single showcases the project’s darker, slower, and more groove‑driven side.

“It’s a deep song with many twists and turns… Chase’s guitar mastery shines throughout and is crowned with a beautiful solo. The song itself is a doom-leaning, torturous piece that is a groove-filled and crafty maelstrom of heavy riffs and open chords. The bass line is rich with attitude. The words talk about witnessing an ecological disaster of epic magnitude,” says McKinnon

Listen to “Devouring Light” at the following links:

Lyric Video – https://www.youtube.com/watch?v=skYaLYoVjX8

Conflux Collective began as a spontaneous spark between McKinnon and guitarist Chase Fraser (Continuum, ex‑Decrepit Birth, ex‑Animosity) after a chance reunion in a Montreal fast‑food joint following a King Diamond show. As McKinnon recalls:

“We got talking and realized we actually played together at the San Francisco venue, the Pound… by the end of the first hour, we had a song pretty much done.”

Within six weeks, the pair had written and recorded their debut EP, “The Inception” (2016). But life’s unpredictability forced the project into years of silence until McKinnon revived it with renewed purpose, reconstructing the album from archived material, new compositions, and a completely DIY production approach.

“This is the first album I ever recorded on bass guitar… I had to figure out every note… it forced me to use my ears and think ‘out of the box.’”

Across eight tracks, “In the Wake of Saturn” delivers a progressive, brutal, melodic, and uncompromising journey through personal upheaval, transformation, and rebirth.

“A journey through pain, fear, defeat, survival, and finally rebirth… a true underground monster, made for those who appreciate and seek the unusual,” adds McKinnon.

Musically, the album fuses the ferocity of ’90s death metal with the precision of modern tech‑death. Lyrically, it channels deeply personal experiences, existential reflection, and the power to alter one’s destiny.

The record features a powerhouse lineup of extreme‑metal vocalists: Jesse Brint (Gross Misconduct), Mallika Sundaramurthy (Emasculator, ex‑Abnormality), Jeffrey Mac Dermott (The Monster Factory, Growlers Choir), Eric Burnet (Derelict, Samskaras), and Max (Derelict), who also contributes a blistering guitar solo.

Conflux Collective was built on the idea of merging diverse extreme‑vocal styles into a single, evolving entity. As McKinnon explains:

“The idea of a ‘collective’ came mainly from featuring many vocalists and bringing together different styles of extreme vocals to create something unique and diversified.”

Though the project has no plans for live performances, The Conflux Collective stands as a testament to collaboration without boundaries, a convergence of some of extreme music’s most creative voices.

Recommended for fans of Cryptopsy, Necrophagist, Decrepit Birth, Augury, and Beyond Creation, “In the Wake of Saturn” will be available on all digital platforms as of June 19th, 2026.

Album pre-save – http://confluxcollective.bandcamp.com/

Vinyl and CD pre-order – https://elasticstage.com/confluxcollective

Merch / Apparel available – https://confluxco-shop.fourthwall.com/

Lyric Video – Reincarnation – https://www.youtube.com/watch?v=Nce0-kz3nTk

More info:

https://www.facebook.com/confluxcollective

https://www.instagram.com/confluxco/

Affiliated links:

Mix engineer: https://magma-sound.com

Derelict: https://derelictmetal.bandcamp.com

Akurion: https://akurion-ca.bandcamp.com/album…

Emasculator: https://www.instagram.com/emasculator_bdm

Mallika: https://www.instagram.com/mallika_sun

Gross Misconduct: https://grossmisconduct.bandcamp.com

The Monster Factory: https://www.themonster-factory.com/en

Coma Cluster Void: https://comaclustervoid.com

– 30 –

“this maddening musical force comprised of many of today’s best death metal musicians. – Austin Weber, No Clean Singing (EP The Inception, 2016)

“The Conflux Collective deliver their first song unto us, a brain scrambling ditty called “Lucid Hallucinations”. This new multi-national death metal group is definitely a band you’ll want to keep an eye on!” – Metal Injection (EP The Inception, 2016)

“Each song features a rotating cast of different vocalists and bassist on each song, with the only members on all three being guitarist/composer Chase Frasier (Continuum, ex-Decrepit Birth, ex-Son Of Aurelius, ex- Animosity, etc) and highly skilled drummer Tommy McKinnon (Akurion/Neuraxis as the only constants in this maddening musical force comprised of many of today’s best death metal musicians. The three vocalists on The Inception are: Mike Disalvo (Akurion/Coma Cluster Void/ex-Cryptopsy) on track one, Matt McGachy (Cryptopsy) on track two, and Beneath The Massacre vocalist Elliot Desgagnes on track three. All three songs on The Inception sound and unfold differently than each other, which bodes well for the groups future moving forwards! Jam below for some high-octane shred heavy tech-death that’ll bore a hole through your head. But do so in a finessed way of course!” – Metal Injection (EP The Inception, 2016)

“At just about 10-minutes in length, The Inception feels more like a teaser than anything else. But that’s just a consequence of how strong it sounds. If they continue to enlist the best of the best as they move forward with more material, Conflux could really be something special. A must-hear if you prefer your death metal on the tech-ier side of things (or you dig any of the members involved).” – Dead Rhetoric (EP The Inception, 2016)

“Helmed by guitarist/songwriter Chase Fraser (Continuum, ex Animosity, Decrepit Birth) and drummer Tommy Mckinnon (Akurion/Neuraxis), Conflux Collective is a new collaborative death metal project bent on both pushing the bounds of creativity within the genre and the culminating of ideas with other artists in the community.” – New Noise Magazine (EP The Inception, 2016)

—
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0 EPK – The Mourning – If I Die I Die (2026) (single)

June 2, 2026
by Asher
· EPKs · The Mourning · Uncategorized

EPK – The Mourning – If I Die I Die (2026) (single)

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

“We think If I Die I Die will connect with people who have wrestled with fear, anxiety, mortality, and the feeling that their own mind is working against them. It has the progressive metal elements our fans expect, but it also has a very direct emotional center. The phrase itself is blunt and memorable, but its meaning is deeper. It is not about giving up. It is about finally refusing to let fear control your life. We want the listener to feel like they are being pulled through a psychological and spiritual battle. The song starts from a place of fear and pressure, then moves toward surrender and release. By the end, the point is not that death has been defeated in some shallow, easy way. The point is that fear no longer gets to sit on the throne. Musically, we want the track to feel cinematic, intense, melodic, and cathartic. By facing it directly, she conquers the thing that had been ruling her.” – The Mourning

For fans of Lacuna Coil, Amaranthe, Flyleaf, Disturbed, Evanescence

Band: The Mourning
Album Title: If I Die I Die
Release Date: June 2, 2026
Label: Self-Release

Themourningmusic.com | Facebook.com/themourningmusic | Instagram.com/themourningmusic | Youtube.com/@themourningmusic | TikTok.com/@themourningmusic

Spotify | Themourning.bandcamp.com

“The band blends mid to uptempo grooves while also introducing space and atmosphere in just the right places. Combining melody, technical/progressive musical elements, and harmony lead vocals, I feel this band caters to both musicians and non-musicians alike.” – Todd La Torre (Queensrÿche)“The Mourning masterfully marries classic synth sounds, modern Haken-esque rhythms, and massive vocal hooks into a modern progressive package worthy of every fan’s undivided attention.” – Metal Injection

“In a world of clones, The Mourning is a true original and a breath of fresh air.” – Gear Gods

“‘Hush’ is a very pleasant surprise. It displays a lot of compositional variety, and offers a strong throwback to prog metal classics while also keeping a unique sound and mixing in unexpected elements. All band members deliver spectacular performances both from a technical and creative standpoint… it is certainly worth your time, and especially given that it’s a debut, I find it very impressive. 8/10” – The Prog Space

“With the release of “Hush”, the band continue to showcase their mastery to balance technical prowess with broader thematic appeal. The Mourning will most definitely make a big impact on the prog metal scene today and in the future.” – Metal Epidemic

“An impressive first album from a young band with room to grow. Fans of bands like Haken and Distrct 97 will enjoy this album. One to watch.” – Prog Radio

“Hush” a sensory treat that transcends the limits of perception.” – Roadie Metal

“US band The Mourning are out with the album “Hush”, and progressive metal is the style explored on this production. It is a distinctly accessible variety of the form we get with this band, with their take on this tradition more often than not revolving around a little bit of an ebb and flow movement. Usually with more delicate parts alternating with more powerful ones, from distinctly contrasting passages to parts that alternate with more of a subtle difference as to the dominant aspects of each of them. With a range in expression from delicate acoustic or semi-acoustic parts to booming and powerful guitar riff driven excursions. The songs will typically revolve around solid melodies rather than technical instrument details, and for my sake I did find some similarities in sound and execution with the more typical heavy metal bands of the 1980s. In this case with the powerful and melodic lead vocals probably having a lot to say for this association to be formed. An album to seek out if you tend to enjoy the more accessible parts of the progressive metal universe.” – The Progressor

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

Band: The Mourning
Single Title: If I Die I Die – 3:51
Release Date: June 2, 2026
Label: Self-Release
Distribution: TuneCore
Genre: Progressive Metal

Single Recording Credits
All songs performed by: The Mourning
All songs written by: Francesco Pinter and Johnny Ray
Produced by: Alex Nasla
Mixed by: Alex Nasla
Mastered by: Alex Nasla
Single Artwork by: Tullius Heuer
PRO Membership: ASCAP and BMI

Single and Live Band Lineup
Nanda Hayek – Female Co-Vocalist
Johnny Ray – Male Co-Vocalist
Alex Nasla – Keyboards
Jason Berlin – Drums
Jason Ashcraft – Guitar
Alon Mei-Tal – Bass
Francesco Pinter – Lead Guitar

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

About the Single Artwork.

The single artwork for If I Die I Die, created by Tullius Heuer, serves as an analogy for a being that was alive but confined inside a cage-like chrysalis, limited by the boundaries that once held it. The moment captured is not death, but rebirth. The creature emerges into a wider perspective, spreading its wings toward new hope. It reflects the heart of the song: shedding fear, letting the old self fall away, and realizing that freedom begins when we stop living inside the prison of dread.

About the single:

Lyrically, If I Die I Die is about overcoming the fear of death and the existential dread that can take over when fear becomes the loudest voice in the room. The song is written almost like a conversation between fear and faith, with one voice trying to keep control and the other trying to break free. Musically, it represents a heavier new direction for The Mourning: progressive metal with a darker, more metal-forward punch, dual vocals, cinematic tension, and a cathartic emotional release.=================================================

Story Angles / Fun Facts About the Band

1. The Mourning made their live debut at 70000 Tons of Metal 2025, sailing from Miami to Ocho Rios, Jamaica. The performance was especially surreal because it was the first time that lineup had played for a paying audience and the first time they had met one another in person. Kerrang! Later, called the band an “outrageously talented new prog collective” and described their 3 a.m. debut as “one of the sets of the weekend.”

2. The band followed 70000 Tons of Metal with Prog on the Ranch 2025 in Brooksville, Florida, continuing to build its presence in the progressive music scene.

3. The Mourning quietly brought Nanda Hayek into the band in October 2025. Rather than announcing it immediately, the band spent months developing the new music, video, and visual identity for If I Die I Die, so the announcement could arrive with a complete creative statement in June 2026.

4. If I Die I Die represents a deliberate shift into a heavier, more metal-forward chapter for The Mourning. The song keeps the band’s progressive and cinematic identity, but brings a darker edge, a stronger dual-vocal dynamic, and a more direct emotional impact.

5. The single’s artwork and music video both center on transformation and confrontation. The artwork shows a creature emerging from a cage-like chrysalis into a wider perspective, spreading its wings toward new hope. The video follows a woman being hunted by death until she finally faces it and realizes fear was the true enemy.

L-R – Alex Nasla, Nanda Hayek, Jason Berlin, Jason Ashcraft, Alon Mei-Tal, Johnny Ray, Francesco Pinter.

Photo credit: Alex Nasla

The Mourning is a progressive metal band now based out of Los Angeles, California, built around cinematic songwriting, soaring dual vocals, intricate musicianship, and deeply human lyrical themes. Founded by vocalist and songwriter Johnny Ray, the band was created to turn personal struggle, spiritual searching, and modern existential weight into music that feels both technically ambitious and emotionally immediate.

After first emerging with the debut EP Theosis, the band’s identity came fully into focus with their full-length album Hush. Created for listeners facing anxiety, depression, loss, trauma, and existential struggle, Hush became the defining release of The Mourning’s first major era. Across songs like “Chaos Machine,” “The Mountain,” “He Cries,” “I Feel The Rain,” “Hush,” “My Own Hell,” and “Smooth Seas,” the album explores the inner storms people carry, the search for meaning, and the possibility of spiritual and emotional release.

Musically, Hush bridged progressive metal, melodic rock, atmospheric passages, intricate guitar work, expressive keyboards, soaring vocal hooks, and a dual-vocal dynamic that gave the record its emotional depth. The album moved through many landscapes, from the uplifting irony of “Chaos Machine” to the spiritual grandeur of “The Mountain,” the sorrow and compassion of “He Cries,” the gratitude of “I Feel The Rain,” and the heavy psychological weight of “My Own Hell.” It was a record built to feel expansive and adventurous while still remaining focused on melody, emotion, and story.

The Hush era also brought together many of the musicians and collaborators who shaped The Mourning’s sound. Alex Nasla produced, mixed, and mastered the album and later became the band’s keyboardist. Francesco Pinter’s guitar work elevated Johnny Ray’s melodies and ideas into a more intricate and emotional progressive-metal space, while Jason Berlin’s drumming gave the album its rhythmic foundation. The album also featured contributions from Eliana Blanchard, Loren Whitaker, Brandon Delpino, and guest musicians including Trey Xavier, Thomas Griggs, Eric Mullins, Graeme Currie, Jeff Pogan, and Charlie Robbins.

Hush helped establish The Mourning beyond their local scene, receiving praise from progressive and metal media. Musipedia of Metal called it “a complex, engaging prog metal album from a band who are extremely talented,” while The Prog Space described it as “a very pleasant surprise” and noted its compositional variety. Other outlets highlighted the band’s philosophical lyricism, dual vocals, emotional weight, and blend of progressive precision with raw feeling.

That momentum carried into 2025, when The Mourning made their live debut aboard 70000 Tons of Metal, sailing from Miami, Florida to Ocho Rios, Jamaica. For the band, the moment was surreal: not only was it their first performance in front of a paying audience, it was also the first time the lineup had met one another in person. Kerrang! called The Mourning an “outrageously talented new prog collective” and described their 3 a.m. debut as “one of the sets of the weekend.” Metal Insider later wrote that the band “left a strong first impression” and offered something “distinctly their own.” The Mourning followed that appearance with a performance at Prog on the Ranch 2025 in Brooksville, Florida.

After Hush and the band’s 2025 live appearances, The Mourning made a deliberate creative shift. While melody, atmosphere, spirituality, and progressive structure remain central to the band’s identity, the next chapter moves in a heavier, more metal-forward direction. In October 2025, the band quietly brought in new female co-vocalist Nanda Hayek, a Brazilian native living in the United States and based in Los Angeles, California. Nanda is also known as the vocalist for Brazilian progressive band OverAlive, and had taken a long sabbatical to complete her Master’s degree and develop her career as a psychotherapist, along with her curiosity about the human psyche and the ultimate question of the meaning of life.

Rather than announcing the change immediately, The Mourning spent the following months developing new material, shaping the visual identity, and preparing the music video for “If I Die I Die.” Releasing June 2, 2026, the single introduces a darker, heavier, and more direct era for the band. Written by Francesco Pinter and Johnny Ray, and produced, mixed, and mastered by Alex Nasla, “If I Die I Die” confronts the fear of death, existential dread, and the exhaustion of living under fear’s control. Its central line, “I’m tired of all this fear, I’m done living in fear,” captures the heart of the song: surrendering fear, shedding the old self, and stepping into something freer.

With Nanda Hayek joining Johnny Ray in the band’s dual-vocal dynamic, The Mourning enters this new chapter with a wider emotional range, a heavier musical direction, and a renewed sense of purpose. “If I Die I Die” is more than a new single. It is the sound of the band carrying the emotional weight of Hush forward while stepping into something heavier, freer, and more fearless.

Discography
2026 – If I Die I Die – Single
2026 – Moment Redux – Single
2024 – Hush – Album
2018 – Theosis – EP

Shared Stage With
The Mourning has shared the stage with many bands, including the following notable artists from the 70000 Tons of Metal 2025 lineup:
Sepultura, Emperor, Symphony X, Stratovarius, HammerFall, Sonata Arctica, Candlemass, Delain, Decapitated, Suffocation

Tours and Festivals Performed
2025 – 70000 Tons of Metal – Miami, FL to Ocho Rios, Jamaica
2025 – Prog on the Ranch – Brooksville, Florida

0 EPK – DOLL – Snakes and Ladders (2026)

May 29, 2026
by Asher
· DOLL · EPKs · Uncategorized

EPK – DOLL – Snakes and Ladders (2026)

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

“We would say that following the reception we had to the first few songs in the Animal Crackers trilogy, with ‘Shark Bait’ and ‘Bear Claw’, we feel like we’ve hit a stride where our fans expect the unexpected at this point. ‘Snakes and Ladders’ is the final piece, and we think (and hope) its going to be received as a really cool mix of the Doll evolution, going into a D standard tuning as a throw back to the grunge sound of old and incorporating the elements of the new darker tone and feel, sprinkled in with a bunch of harmonics, and of course the signature Christina vocal style, Snakes and Ladders provides the rasp, the drive and the bang to be a banger. We’ve always said this project was about having fun and exploring new sounds and styles. We’re confident that ‘Snakes and Ladders’ will land just as hard—if not harder than Shark Bait or Bear Claw.” – DOLL

For fans of SoftCult, Amyl and the Sniffers, Scowl, Nobro, The Pretty Reckless

Doll.bandcamp.com | Facebook.com/dollband | Spotify | Youtube.com/@insidethedollhouse

All Digital Platforms – https://distrokid.com/hyperfollow/doll14/snakes-and-ladders

What the press has said about DOLL:

!earshot – August 2025 – Top 20 Loud – #5 – DOLL – Canadian Campus Radio Charts (2025 – Better Days, Better Times)

!earshot – August 2025 – Top 200 – #55 – DOLL – Canadian Campus Radio Charts (2025 – Better Days, Better Times)

“#1 Doll – Zach’s Picks of the Week – July 7 – 12, 2025 – Canadian Beats (2025 – Better Days, Better Times)

“In one of the best comeback stories in music in 2025, Canadian Alt-Rock duo DOLL will release their first new collection of material since 2011’s The Ragdoll Diaries… In addition to five slamming originals, DOLL chips in an inspired take on the Deep Purple classic rock anthem – “Smoke On the Water!” “- Ghost Cult Magazine (2025 – Better Days, Better Times)

“Doll sharpens their grit with new muscle and melody. Their return after more than a decade is not a nostalgia trip but a rebirth. The Ottawa band’s forthcoming EP Better Days, Different Times (July 18th) expands their core formula of raw energy and no-frills honesty by inviting new players and broader sonic choices into the mix. But even with cello flourishes and genre jumps, their identity remains firmly intact.” – Amplify The Noise (2025 – Better Days, Better Times)

“The new track ‘Shark Bait’ from Doll is a blast! The world has been celebrating the 50th anniversary of “JAWS” and now we have a brand new punk-fueled bite in the pants to go along with all of the bloody hoopla. ‘Shark Bait’ is basically straight ahead hardcore riffage with razor sharp teeth, fun lyrics and a precursor to their new EP, ‘Better Days, Different Times’ set for a July 18th release. Catch it on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll (2025 – Better Days, Better Times)

“DOLL has returned as potent and as impressive as they were before but with greater impact we suggest, Better Days, Better Times quite simply a must exploration for punk and feral rock hearts.” – The Ring Master Review (2025 – Better Days, Better Times)

“Christina Kasper’s changeable voice is impressive.” – Keep On Rocking (2025 – Better Days, Better Times)

“‘Bleeding’ is a colourful mixture of Hard and Alternative Rock, paired with influences from Punk and Gothic, in a very melancholic sounding melody. The powerful voice of singer Christina Kasper dominates like a siren. ” – Metal Heads Forever Magazine (2025 – Better Days, Better Times)

“The Rag Doll Diaries” is the story of a road weary/world weary band with so much to say and share. Its the combination on heartache and despair offered with a hand meant for holding. In other words here is real music for the real world.” – Heavy Metal Time Machine (2013 – The Ragdoll Diaries)

“Doll was conceived as a bridge between punk and rock, a bridge that was fulfilled in the early ’90s by bands like Nirvana and the mid-’90s by Foo Fighters… A good punk band doesn’t write about the joys of picking daisies and Doll is no exception.” – The Whig Standard (Kingston, ON) (2013)

“Doll provides a missing link between punk and rock.” – The Intelligencer (Belleville, ON) (2013)

“The four-piece are definitely reminiscent of the grunge era and have provided a concise four-word biography of the band: “Rock N’ Fucking Roll.” – Exclaim! (2011 – The Ragdoll Diaries)

“One of the most striking aspects of Inside The Dollhouse, after Christina’s whiskey-and-hell voice, is a fictional character by the name of Sally created to carry the songs. A concept completely unexpected given the band’s twentysomething youth, immediately reminiscent of Alice Cooper’s infamous character Steven, introduced on Welcome To My Nightmare in 1975.” – Bravewords (2010 – Inside the Dollhouse)

“The debut from Ottawa’s Doll caught me instantly like a fish on a hook. This is serious music. Dark, intense and magnetic, this is the kind of gritty ’90s grunge that doesn’t fuck around. Fronted by the vocally vicious Christina Kasper, Doll recall an angry and confused era of music devoid of pop but not catchiness. Kasper howls in the vein of Courtney Love and Brodi Dalle, and while the lyrics are simple and not exactly fresh, they are impacting. Songs like “Perfect” deal with trying to live up to society’s standards, while “Sally Lost Her Shoelaces” and “Daddy’s Little Girl” deal with hurt, confusion and heroin against a backdrop of chunky guitars, assaulting drums and badass attitude. Julie-Anne Madore’s backing vocals add a whispered, haunting feel to this record. If the dirty rock’n’roll alone doesn’t reel you in, nothing will.” – Exclaim (2009 – Inside the Dollhouse)

Band: DOLL
Single Title: Snakes and Ladders
Release Date: May 29, 2026
Label: Grunge Never Died, You Did Records
Distribution: DistroKid
Genre: Hard Rock, Punk, Grunge
Location of Band: Ottawa, Ontario

Single Recording Credits:
• All songs performed by: Doll
• All songs written by: Doll
• Produced by: Josh Hart
• Mixed by: Josh Hart
• Mastered by: Josh Hart
• Single Artwork by: Mark Kidd
• Member of SOCAN
• Canadian Content (MAPL)

Single Band Line Up: Pete Kasper, Christina Kasper, Josh Hart

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

About The Single Artwork:

Oh, this one is super crazy; it’s almost like we manifested the opportunity by picking the song title to be Snakes and Ladders. We were walking through a thrift store, and out of nowhere, a full-on board game version of the game, with the classic packaging from who knows when. We took a photo of the original box, and it was perfect.

Really makes you wonder, are we living in some video game simulation itself? As soon as you start thinking about something, it always seems to appear in some form, it’s like when you never notice a certain car or shirt, but then the moment you get one, its like you see them non-stop.

Finding that board game, at exactly that moment, it’s a coincidence that just played out so perfectly, there was no point in going a different direction. This was the cover art that was meant to be.

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

Musically, Snakes is a real fun one for us to play, we did a lot of harmonics which we never did a lot in the past, we brought in a lot of the classic feel with the in your face quick riffs, and vocally with the performance dialing up the grit and angst in the delivery, it’s a great song to move to and get some issues out.

Lyrically, it’s a classic tale of boy meets girl, girl kills boy. LOL.

Just kidding.

The messaging is an uplifting anthem fighting back against the bullshit, whether that be the snakes in suits that pretend to want to help you, but are just in it for a paycheck. This was our take on hopefully giving some sense that no matter what, you have to be yourself and never give up.

As the song says, “I refuse to play your game.” Remember to always ask questions, keep things in perspective, and don’t just drink the Kool-Aid blindly.

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

Fun Facts:

1. Christina and Pete are married.

2. They have been supporting and pioneering the Ottawa local scene by organizing shows in the area for over 20 years.

3. On tour, we always had hot and sour soup in every city.

4. Our first out-of-town runs of shows, we didn’t even have a band van, which we ended up finding late night the day before, purchased off someone privately, and had insured and plated the next morning before driving off in our amazing two-tone brown GMC Safari (RIP), the best van ever created.

5. Everyone was a huge fan of Sonic Youth

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

After a long hiatus, Doll returned in 2025 with a brand‑new album, and they’re keeping the momentum going with a follow‑up 2026 single, “Bear Claw,” releasing January 16th.

Doll is a Canadian alternative rock band from Ottawa, Ontario.

In 2009, Doll released their first album, Inside The Dollhouse. A video was filmed for their debut single, “Daddy’s Little Girl,” which aired on MuchMusic and MusiquePlus. A second video was filmed for their next single, “Sally Lost Her Shoelaces.” Madore left the band a few years later, with Paquette returning to take her place.

In 2011, they released their second album, The Ragdoll Diaries. Two singles and videos emerged from this release: “FMO” and “Youth of Today, Hope for Tomorrow.” The album was issued on both CD and vinyl. Soon after, Alex Vance joined the lineup as the new bassist.

Over the years, Doll has shared the stage with an impressive roster of artists, opening for Three Days Grace, Lacuna Coil, Danko Jones, Spinnerette, Protest the Hero, Band of Skulls, Anvil, Halestorm, SNFU, Hanzel Und Gretyl, Civet, The Creepshow, Die Mannequin, and many more.

Discography:
2025 – Better Days, Different Times
2011 – The Ragdoll Diaries
2009 – Inside the Dollhouse

Tours and Festivals:
2011 – Ottawa Bluesfest
2011 – IndieWeek
2011 – NXNE
2011 – Montebello Rockfest

0 Blackened Thrash ETERNAL DRAK Unleashes “We Force It To Speak” From Sixth Album “The Violence of Time” Out July 2026

May 15, 2026
by Asher
· Eternal Drak · Music News · Uncategorized

NEWS RELEASE

Montreal, QC – May 15, 2026

Blackened Thrash ETERNAL DRAK Unleashes “We Force It To Speak” From Sixth Album “The Violence of Time” Out July 2026

L-R – Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass – Michel Amyot – Rhythm Guitar

Photo Credit – Patrick Auger

Eternal Drak, the long‑running extreme metal force originally from Latin America and now based in Quebec City, Canada, known for its evolving blend of black, thrash, and death metal, announces the arrival of its sixth full‑length album, “The Violence of Time,” a work that reframes time itself as the enemy of human meaning and will be released on out July 17th, 2026, on Canadian label FirstWave. Alongside the announcement, the band unveils the album’s first single, “We Force It To Speak.”

Born, as the band puts it, “in the middle of a drunk among friends,” Eternal Drak has spent years forging a sound defined by varied rhythm and catchy aggression, shaped by decades within the metal underground. With this new album, the band reaches its most cohesive and intense expression to date.

“The Violence of Time” is not a concept album in the traditional sense; it is a philosophical assault. Lyrically and musically, the record presents time as a hostile, eroding force that distorts memory, identity, and causality. The songs function as “violent theses,” each dismantling a human assumption about how time works.

The band explains:

“Time does not accompany human beings; it subdues them. It does not flow; it imposes. It does not advance; it erodes.”

Every track reflects fragments of a larger narrative inspired by a short story written for the album, an exploration of how attempts to understand time only warp it further.

Serving as the album’s opening strike, “We Force It To Speak” captures the essence of Eternal Drak’s new era. Rooted in black metal yet enriched with acoustic textures and dense atmospheric layering, the track establishes the album’s emotional and conceptual tone. Lyrically, it confronts the human obsession with explanation, how the act of observing or defining reality alters it beyond recognition. The band describes it as a reflection on “how the more we search for answers, the more certainty slips away.”

Eternal Drak’s evolution has been shaped by decades of experimentation, from analog distortion and classic pedals to modern digital textures. With “The Violence of Time,” the band believes it has finally crystallized its definitive sound: aggressive, cohesive, and uncompromising.

Influences such as Dimmu Borgir, Watain, Kreator, Motörhead, and Desaster echo throughout the record, yet the album stands firmly in its own identity, extreme metal sharpened by introspection and conceptual depth.

Listen to “We Force It To Speak” at the following links:

Spotify – https://hypeddit.com/eternaldrak/weforceittospeak

YouTube – https://www.youtube.com/watch?v=nMt45oS5uxY

Album pre-order (out July 17th, 2026) – https://eternaldrak.bandcamp.com/

Track Listing:
1. We Force It To Speak – 5:15
2. The Unborn Paths Rot – 3:51
3. Me Hice Simultaneo – 3:30
4. The Blasphemy of Time – 3:35
5. Chaos Is the Law – 3:34
6. Where Cause Is Buried – 3:55
7. Across the Watching Veils – 3:53
8. Breathing Once Again – 3:45
9. The Cosmos Rejects You – 4:09
10. No Direction Total War – 2:57
Album Length: 38:24

Album Band Line Up:
Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass
Michel Amyot – Rhythm Guitar

More info: http://www.eternaldrak.com | https://www.facebook.com/EternalDrak | https://www.instagram.com/eternaldrak

About:

Eternal Drak is an extreme metal band based in Quebec City, Canada, originally founded in Latin America in the late ’90s. Rooted in a fierce blend of thrash and black metal, the band has continually expanded its sound with elements of death metal, groove, and melodic experimentation. Lyrically, Eternal Drak explores human and cosmic darkness, a theme present across all seven of its official releases. The band is currently signed to the Canadian label FirstWave.

Formed in 1997 by brothers Drakar and Warhammer, later joined by guitarist Reijav, Eternal Drak quickly gained recognition, winning a City TV award for Best Metal Video in the early 2000s. After releasing early EPs and their first full-length, the band went on hiatus in 2007.

In 2020, the members reunited in Quebec to create The Past Is Gone, A New One Is Coming, honoring co‑founder and drummer Eduardo “Warhammer” Martínez. This revival led to a prolific new era, including the albums Drak Metal (2021), Shadow Storm (2022), Imprisoned Souls (2024), and multiple EPs. The lineup later expanded with guitarist Mike Amyot and drummer Patrick Auger.

Today, Eternal Drak (featuring Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass, and Michel Amyot – Rhythm Guitar) continues to evolve while staying true to its extreme metal roots, driven by intensity, melody, and a commitment to pushing its sound across continents.

-30-

“A fine collection from the masters of ancient evil” – Metal Noise (The Warrior Order – 2025)

“There’s evil intent at the start of next song “Eternal Drak” something I’d expect as it’s named after the band. Again, the trio are delving into themes of dark forces and mythical battles, but they have upped the intensity on this one as it sounds more powerful. It’s hard not to imagine a town or castle besieged by dragon’s fire and the hellish earth that awaits any survivors.” – The Razor’s Edge (The Warrior Order – 2025)

“another great sounding recording from Eternal Drak and if you are a fan of blackened thrash metal, you should check out this ep. RECOMMENDED TRACKS INCLUDE “Oda A La Luna” and “La Nueva Orden”. 8 out of 10.” – Bringer of Death Zine (The Warrior Order – 2025)

“„Eternal Drak“ is a small grab bag. Here they use different tempos that fit into the fast, rhythmic sound. With an extremely thrashy and vocally aggressive sound, you always have to be prepared for changing rhythms and moods. An extremely brutal melody blows with us „La nueva Order“ counter. At the end of the „EP“ they take a Metallica song from the album „Master of Puppets“ before. „Leper Messiah“ rewound in a radical version. Just as the album title says: they implement the warrior code musically.” – Hellfire Magazin (The Warrior Order – 2025)

“The Warrior Order is a real surprise and shows a completely new face of ETERNAL DRAK,” – PowerMetal.de (The Warrior Order – 2025)

““Oda A La Luna” sees a powerful drum at the beginning, before the rhythm settles in this dark ode. The lyrical theme is one of rebellion and ritual, and you can feel the intensity with each slap on the snare. The middle section has a sudden tempo change, with a riff that will get your head moving and the intensity follows through.” – The Razor’s Edge (The Warrior Order – 2025)

“This is a pretty good EP that’s got plenty of thrashy riffs, grooves and black metal harmonies and tremolos, give this a spin. ” – Drako’s Metal Reviews (The Warrior Order – 2025)

—
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0 EPK – Accursed – Sever The Horizon (2026) (single)

May 8, 2026
by Asher
· Accursed · EPKs · Uncategorized

EPK – Accursed – Sever The Horizon (2026) (single)

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

For fans of The Black Dahlia Murder, At The Gates, Revocation, Wretched, Angelmaker

Accursed.band | Facebook.com/accursedct | Youtube.com/@accursedct | Instagram.com/accursedct

Accursedct.bandcamp.com | Spotify | Apple Music | Accursed-merch.square.site/

“Lyrically, this new one is a furious condemnation of Christianity, joining a near-endless line of metal songs with a similar theme. Musically, it’s a hell-raiser too, a furiously vicious melodic death metal discharge. The screamed vocals are hair-raising in their intensity. The riffing blares like sirens, feverishly slashes like blood-crusted swords, and dismally roils. The drums methodically snap and maniacally clatter. The fleet-fingered soloing is exultant but also fluidly sinister. The song proves to be not just hostile but also eventually steeped in misery and dismay. It also proves to be highly groovesome, and good reason to check out Accursed‘s previous releases this year.” -Islander – No Clean Singing – (Beneath A Burning Sky Single 2025)

Band: Accursed
Single Title: Sever the Horizon – 3:38
Release Date: 5/8/2026
Label: Self-Release
Distribution: Distrokid
Genre: Melodic Death Metal
Location of Band: Connecticut, USA

Single Recording Credits:
• All songs performed by: Accursed
• All songs written by: Dave Lee, Chris Dwyer, Will Devereaux
• Produced by: Dave Lee
• Mixed by: Stephan Hawkes
• Mastered by: Stephan Hawkes
• Album Artwork by: Dimas Aditya
• Member of ASCAP

Album Band Line Up:
Will Devereaux – Vocals
Dave Lee – Guitar
Chris Dwyer – Bass
Ray Zvovushe – Drums

Live Band Line Up:
Will Devereaux – Vocals
Dave Lee – Guitar
Rob Casucci – Guitar
Chris Dwyer – Bass
Ethan Puetzer – Drums

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

About The Single:

Although the writing for Sever the Horizon was completed over a year ago, it became the catalyst for the rest of the album, setting both the tonal direction and the level of compositional complexity that eventually pulled the full track list together. Lyrically, it tells the story of Richard ‘Sky King’ Russell and the Horizon Air Incident of August 10, 2018, approaching it through a more interpretive lens. The song explores the emotional and psychological headspace he may have been in, while surmising the surreal physical experience and the overwhelming beauty and uncertainty of what he was witnessing in his final moments.

We intentionally avoided direct callouts or any attempt to explain or glorify his actions, recognizing that much of it is ultimately unknowable. Instead, the focus is on perspective and wholly human experience within a tragic and widely discussed moment. It’s a story that resonated with a lot of people when it happened, and we hope that the song connects similarly, maybe offering listeners something to reflect on and even relate to in their own struggles.

About The Single Artwork:

We went back and forth on the artwork quite a bit because, honestly, we didn’t have a clear direction right away. We even had Dimas scrap the initial concept and take it in a completely different direction once we realized it didn’t really reflect who we are stylistically.

What we ended up with feels a lot more like a visual metaphor for confronting and battling your inner demons. It ties directly into the core themes of the song and in a lot of ways, says what we’re trying to express without needing to spell it out.

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

BAND STORY ANGLES / FUN FACTS:
1. Who is Justin Dupree? That’s a great question. Honestly, we’ve been asking ourselves that ever since recording our first EP, Ascension.

We were tracking vocals for The Way Out at Hat City Music Productions, and mid-take, the engineer Chris Litwin stops Will and asks him to redo a line, something like, ‘do that Justin Dupree part again’. The actual lyrics are “dust and debris”, but from that moment, it was over.

A legend was born, and now none of us can hear that line any other way.

2. During the recording of our first EP, it felt like the universe was actively testing whether the release was supposed to happen when we thought it was. The first sign came during our final vocal session when lightning struck the studio. We watched it arc from a power strip to a pipe in the room we were standing in. It fried some of the gear, but luckily, all our recordings made it through untouched. Then, just as things moved into mixing and mastering with Studio Wormwood, the Asheville area was hit with historic flooding that devastated the community. We were watching it unfold in real time, not knowing what it meant for the project, but incredibly, the studio itself was spared. At the time, we were anxious to get the music out as quickly as possible, but looking back, it felt like something was telling us to slow down and pay attention. Since then, we’ve tried to be more in tune with that because when we are, things tend to fall into place in ways we can’t really plan for. Opportunities show up out of nowhere, and we’ve learned to just stay ready, trust the process, and keep doing things the right way.

3. At this point, most of the process has moved in-house. All of the guitars, bass, and vocals are tracked out of my home studio, where I also handle the producing, engineering, and reamping. It’s given us a lot more control over the sound and the pace of how we work, which has been huge for dialing things in exactly how we want them.

Drums are the one piece we can’t quite accommodate yet due to space, so we track those at Dexter’s Lab with Nick Bellmore (Many Eyes, Dee Snider, Jasta, and more). It’s a great balance, keeping most of the process in-house while still bringing in someone with his experience to help capture the energy on the drum side.

4. On a long weekend run through Virginia and North Carolina last year, we really tested the limits of Japanese engineering. We hitched a U-Haul trailer to Dave’s Subaru Crosstrek and somehow fit five fully grown adults(?) into it for what ended up being about 25 hours of driving. If you ever get the opportunity to pack half a ton of dudes into a crossover SUV for a road trip… don’t. Just rent the van. Trust me.

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

Photographer Credit – Mia Palazzo

Accursed began in 2019 against the urban backdrop of Connecticut as a singular creative reaction to the extremes of modern metal; a project aimed at blending the melodic sophistication of classic melodic death metal with the intensity of contemporary heavy music.

Across the band’s formative years, the lineup shifted several times, each change refining the group’s direction rather than diluting it. These early transitions were a workshop – players came and went, arrangements were tested, and the band’s songwriting deepened. Rather than slowing momentum, the process strengthened Accursed’s identity, resulting in tighter compositions and a clearer sonic blueprint.

The band’s last single, “Beneath A Burning Sky,” was received extremely well, outperforming their previous releases in the first 3 months and being featured on The Circle Pit’s YouTube channel and on No Clean Singing blog.

In late 2025, Accursed entered a new phase of creative chemistry with a new lineup that will carry the band into the future. Currently putting the finishing touches on pre-production for their debut full-length, Accursed is readying a record that emphasizes dynamic contrasts, harmonized guitar work, and melodic hooks balanced against pummeling rhythm sections and visceral vocals.

Sonically, Accursed sits squarely in the melodic death metal tradition but refuses to be a pastiche. Fans can expect modern production clarity and arrangements that make space for both aggression and atmosphere. Lyrically, the band explores themes of consequence, internal fracture, and the quiet violence of everyday existence, all delivered with concise, evocative imagery that complements the music’s intensity.

Looking ahead, Accursed is focused on finishing the album and not just building on the past but blowing it away entirely. With an uncompromising creative vision, Accursed is poised to make a distinct mark on the melodic death metal landscape.

Discography:
2026 – Sever the Horizon (Single)
2025 – Beneath A Burning Sky (Single)
2025 – Cold (At the Gates Cover) (Single)
2025 – Ascension (EP)

Shared Stage with:
Undeath
Gates to Hell
Crown Magnetar
Gorgatron
Extermination Dismemberment
Jasta
Kruelty
Larcenia Roe
Malignancy
Pessimist
Fires in the Distance
Begat The Nephilim
Burned In Effigy
Fleshbore
Frog Mallet

Tours and Festivals:
2026 – Buffalo Gore Fest – Buffalo, NY
2025 – Connecticut Death Fest – Milford, CT
2024 – Connecticut Death Fest – East Haven, CT
2023 – Connecticut Death Fest – East Haven, CT

0 Streaming Now! Vancouver Extreme Groove Metallers WITHOUT MERCY New EP “Infinite Loss” + Title Track Video

May 7, 2026
by Asher
· Music News · Uncategorized · Without Mercy

NEWS RELEASE

Montreal, QC – May 7, 2026

Streaming Now! Vancouver Extreme Groove Metallers WITHOUT MERCY New EP “Infinite Loss” + Title Track Video

L-R – Ryan Loewen – Bass, Alex Friis – Vocals, DJ Temple – Guitars, Matt Helie – Drums

Photo Credit: Shimon Photo – http://www.shimonphoto.com

Canadian extreme metal band Without Mercy will unleash their new EP, “Infinite Loss,” on May 8th, delivering one of the most intentional, intense, and creatively defining statements of their nearly two‑decade career. To mark the release, the band has partnered with Metal Insider for the exclusive premiere of the full EP stream, alongside the debut of the lyric video for the title track, “Infinite Loss.”

The EP arrives following the rollout of previously released singles “Glass” and “The Saint,” each offering a distinct glimpse into the record’s emotional weight, sonic restraint, and thematic depth.

Guitarist DJ Temple describes “Infinite Loss” as the result of a transformative and deliberately uncomfortable creative process:

“This was the first time we left home to make a record. We crossed borders, uprooted our routines, and committed fully to the process by living inside it for ten days. There was no comfort, no distance, and no way to step away.”

The band built the EP around three songs that genuinely excited them, not as singles, but as statements. Every decision had to earn its place.

“The result is something we are proud of, not because it represents a direction we chased, but because it reflects who we were in that moment and what we were willing to commit to,” adds Temple.

For the first time, Without Mercy worked with a producer at a deep structural level, embracing tension, disagreement, and collaboration as essential parts of the process.

“This record exists because we chose to be uncomfortable, to argue honestly, and to stay in the room until it felt right,” says Temple.

Lyrically, “Infinite Loss” is about being hunted, not once, but repeatedly. The threats shift, but they never disappear. Economic pressure, identity, time, survival, and expectation all close in at once. The record speaks to the modern experience across the Americas: not victimhood, but endurance under relentless pursuit.

Musically, the EP mirrors that pressure through repetition, density, and restraint. Riffs sit heavy and suffocating. Rhythms feel physical and deliberate. The aggression is controlled rather than chaotic, creating a sense of inevitability rather than release.

Opening title track, “Infinite Loss,” with its repetition, density, and deliberate pacing, creates a suffocating sense of inevitability. Middle song, “The Saint”, is the EP’s biggest stylistic departure, leaning into space, tension, and unfamiliar structure. EP closer, “Glass”, interconnects riffs inspired by Meshuggah and Alluvial, tightening inward until the outro opens with scale and finality.

Without Mercy was formed in 2007, blending groove, extreme metal, and technical precision into a sound described as “heavy and insightful at the same time.” The band has shared stages with Cattle Decapitation, Aborted, and Death Angel, and has appeared as downloadable content in Rock Band 3, bridging gaming culture and heavy music.

Their discography includes “All Else Fails” (2007), “Without Mercy” (2009), “Reborn” (2014), rereleased as “Mouichido” (2016), and “Seismic” (2020). “Infinite Loss” marks their most focused and intentional work to date, a release built from collapse, rebuilt through discipline, and finished with absolute conviction.

Listen to the full EP “Infinite Loss” and the lyric video for the title track via its premiere on Metal Insider HERE.

EP “Infinite Loss” is available for pre-save at https://ffm.to/infiniteloss

Music Video – The Saint – https://www.youtube.com/watch?v=Le9wnFk5vzM

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

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

More info:

https://www.withoutmercyband.com/

https://www.facebook.com/withoutmercyband

https://www.instagram.com/withoutmercyband

-30-

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

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

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

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

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

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

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

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

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

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

—
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Jon Asher – Music Publicist
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jon[@]ashermediarelations[.]com
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0 EPK – Eternal Drak – The Violence Of Time (2026)

May 6, 2026
by Asher
· EPKs · Eternal Drak · Uncategorized

EPK – Eternal Drak – The Violence Of Time (2026)

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

For fans of Dimmu Borgir, Watain, Kreator, Motorhead, Desaster

“Long-time listeners usually look for emotional continuity, lyrics, themes, or a sound that feels them authentically, even if the production evolves. If that connection is there, reception tends to be warm even when the style shifts. We seek to deepen and solidify the bond with those who have accompanied us for years, acknowledging their loyalty and the enduring connection that has grown alongside our music. The Violence of Time is an album aimed at every true old-school metal devotee, those drawn to the raw spirit of thrash, the darkness of black metal, and the severity of death metal. It is an invitation to listeners who grew up with the foundations of extreme metal, but who still seek intensity, conviction, and relevance.” – Eternal Drak

Eternaldrak.com | Facebook.com/EternalDrak | X.com/eternaldrak | Youtube.com/@eternaldrak1684 | Instagram.com/eternaldrak

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

Single pre-save – https://hypeddit.com/eternaldrak/weforceittospeak

“This is some pretty good Blackened Thrash that has sick riffs, icy tremolos and eerie harmonies with some solos added to keep it interesting, add it to your lists. Rating: 8.1/10 – Drako Metal Reviews (The Violence of Time – 2026)

“another great sounding recording from Eternal Drak and if you are a fan of blackened thrash metal, you should check out this album. RECOMMENDED TRACKS INCLUDE “We Force It To Speak” “The Blasphemy Of Time” “Where Cause Is Buried” and “The Cosmos Reject You”. 8 out of 10.” – Bringer of Death Webzine

“A fine collection from the masters of ancient evil” – Metal Noise (The Warrior Order – 2025)

“another great sounding recording from Eternal Drak and if you are a fan of blackened thrash metal, you should check out this ep. RECOMMENDED TRACKS INCLUDE “Oda A La Luna” and “La Nueva Orden”. 8 out of 10.” – Bringer of Death Zine (The Warrior Order – 2025)

“„Eternal Drak“ is a small grab bag. Here they use different tempos that fit into the fast, rhythmic sound. With an extremely thrashy and vocally aggressive sound, you always have to be prepared for changing rhythms and moods. An extremely brutal melody blows with us „La nueva Order“ counter. At the end of the „EP“ they take a Metallica song from the album „Master of Puppets“ before. „Leper Messiah“ rewound in a radical version. Just as the album title says: they implement the warrior code musically.” – Hellfire Magazin (The Warrior Order – 2025)

“The Warrior Order is a real surprise and shows a completely new face of ETERNAL DRAK,” – PowerMetal.de (The Warrior Order – 2025)

“This is a pretty good EP that’s got plenty of thrashy riffs, grooves and black metal harmonies and tremolos, give this a spin. ” – Drako’s Metal Reviews (The Warrior Order – 2025)

“”Drak Metal” is an excellent album, a deserving addition to any metalhead’s collection. With a few specific focuses here and there, the combination of Black and Thrash and Groove metals is done with near perfect balance, so there should be a wide appeal. ” – Metal Temple (2024 – Imprisoned Souls)

“the album comes with a sharp and grim expression set to an appropriately dark mood and mode, and in terms of mood and atmosphere this album did remind me ever so slightly of Celtic Frost, even if the music itself is rather different. That being said, I would imagine that quite a few thrash metal fans that also enjoy a little bit extreme metal as well as a band like aforementioned Celtic Frost would feel right at home with the landscapes explored on this production.” – The Viking in the Wilderness (2024 – Imprisoned Souls)

“‘Drak Metal’ is actually very enjoyable… it has a supreme raw quality to it which gives the album a sense honest integrity that just means that the listener cannot get enough of it, that passion is infectious and is more than enough to say, more of the same guys… more of the same.” – Metal Digest (2021 – Drak Metal)

[Download Album Cover | Download Album Lyrics]

Band: Eternal Drak
Album Title: The Violence Of Time
Release Date: July 17th, 2026
Label: FirstWave Canada
Genre: Thrash Black Metal
Location of Band: Quebec City, Canada

Track Listing:
1. We Force It To Speak – 5:15
2. The Unborn Paths Rot – 3:51
3. Me Hice Simultaneo – 3:30
4. The Blasphemy of Time – 3:35
5. Chaos Is the Law – 3:34
6. Where Cause Is Buried – 3:55
7. Across the Watching Veils – 3:53
8. Breathing Once Again – 3:45
9. The Cosmos Rejects You – 4:09
10. No Direction Total War – 2:57
Album Length: 38:24

Album Recording Credits:
• All songs performed by: Eternal Drak
• All songs written by:
Tracks 1 – 2 – 3 – 4 – 5 – 6 – 7 – 9 – 10 by Andres Martinez Torres (Drakar)
Track 8 by Michel Amyot
• Produced by: Andres Martinez Torres (Drakar)
• Mixed by: Andres Martinez Torres (Drakar)
• Mastered by: Andres Martinez Torres (Drakar)
• Album Artwork by: Andres Martinez Torres (Drakar)
• Member of SOCANAlbum Band Line Up:Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass
Michel Amyot – Rhythm GuitarLive Band Line Up:
Andres Martinez Torres (Drakar) – Voices, Lead Guitar
Michel Amyot – Rhythm Guitar

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

About The Album Artwork:

The image represents the structural spine of the album, a visual interpretation of the rupture and destruction of the traditional concept of time. Past and present are shown coexisting, bound together yet simultaneously under attack at their very foundation: the river of time itself.

This collision reflects the album’s central idea, where time is no longer linear or stable, but fractured and eroded. By striking at its base, the image symbolizes the collapse of chronological certainty, exposing time as something violent, unstable, and ultimately indefinable.

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

The album frames time as a hostile force—not as a neutral medium or an abstract measure. Time does not accompany human beings; it subdues them. It does not flow; it imposes. It does not advance; it erodes. It does not reveal meaning; it destroys it.

Time is a constant pressure that distorts memory, identity, and causality. Everything human beings think they understand <past, present, future> is a mental adaptation designed to survive, not to describe reality.

Track by Track (LYRICALLY & MUSICALLY):

1. We Force It To Speak

Understanding changes things. The sixth break was personal. Trying to understand time doesn’t reveal it. It distorts it. Explanation isn’t neutral.
Observation isn’t passive. Two people describing the same moment don’t agree because there is no single version to agree on. Truth isn’t discovered.
It’s enforced. Time doesn’t lie. We force it to make sense.

2. The Unborn Paths Rot

Most futures are already dead; the fifth idea changed how I think about tomorrow. There isn’t one future. There are too many. Most of them never make it. Outcomes appear and collapse without ever becoming real. Paths that existed just long enough to fail. Sometimes I see traces—effects without decisions, warnings written for events that never happened. The future doesn’t open.
It closes constantly. Time doesn’t choose. It lets everything happen and abandons most of it. I changed.

3. Me Hice Simultaneo

Attention feeds time. The eighth realization was uncomfortable.
Time gets stronger where it’s watched. Fear makes the present heavier.
Hope stretches the pressure longer. Obsession speeds everything up.
Ignoring time doesn’t stop it. It just spreads it out. We don’t control time.
We make it harsher.

4. The Blasphemy of Time

Time doesn’t move. The first thing I understood was simple and unbearable:
Time doesn’t flow. Nothing really goes forward. Nothing stays behind.
The past doesn’t leave. It stays stacked on top of everything else, still active, still pushing. Memories aren’t echoes. They’re in contact. Every time I remembered something, I wasn’t revisiting it. I was touching it again. That’s when memory stopped being comfort. It became pressure.

5. Chaos Is the Law

Disorder is normal. The second thing was harder to accept. Chaos isn’t a mistake. It’s how time works. Order is the exception. Stability is temporary.
Everything that tries to stay fixed starts breaking down faster. Systems. Stories. Identities. History isn’t falling apart by accident. It’s doing what time expects it to do. Time doesn’t preserve anything. It wears it down on purpose.

6. Where Cause Is Buried

Tomorrow edits yesterday. The seventh idea broke the cause and effect. Some things only make sense after they happen. Some causes seem to exist only to justify results. Origins don’t matter anymore. Consistency does. Responsibility gets blurry. Blame loses its shape. Time doesn’t reward or punish. It rewrites until the story holds together.

7. Across the Watching Veils

Attention feeds time. The eighth realization was uncomfortable. Time gets stronger where it’s watched. Fear makes the present heavier. Hope stretches the pressure longer. Obsession speeds everything up. Ignoring time doesn’t stop it. It just spreads it out. We don’t control time. We make it harsher.

8. Breathing Once Again

When you contemplate the relentless impact of time, your perception begins to shift; your senses warp, and the sweetness of life’s joys fades, while the disasters you endure seem to lose their weight. The tragedies you witness were never truly yours to command, because everything has already unfolded.

9. The Cosmos Rejects You

Human scale doesn’t matter. The fourth realization was humiliating. Years. Decades. Lifetimes. These are human units, not real ones. On the scale time actually uses, a human life barely registers. Too short to matter. Too small to leave a mark. Nothing lasts long enough to be important. Nothing ends cleanly enough to be finished. Time doesn’t care. It doesn’t even notice.

10. No Direction Total War

There is no direction. The third break destroyed the idea of “before” and “after.” Time doesn’t point anywhere. The present isn’t special. It’s just where awareness happens to be stuck. The future doesn’t wait. It pushes back. Some choices feel forced by outcomes I don’t understand yet. Some warnings arrive only after the damage is done. Time doesn’t guide you. It boxes you in from every side.

L-R – Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass – Michel Amyot – Rhythm Guitar

Photo Credit – Patrick Auger

Eternal Drak is a band based in Quebec, Canada, but born in Latin America in the 90s. Thrash Black is the genre that has always been present but has varied over time by adding different touches that enrich the style. In its lyrical content, darkness is what has reigned over the pen; human and non-human darkness have manifested themselves in different ways in each of their 7 official productions. Currently signed with the Canadian Label FirstWave

In 1997, the Martínez brothers, Drakar and Warhammer, aged 17 and 15 respectively, began the foundations of “Eternal Drak”. In 1998, rhythm guitarist Oscar Layton (Reijav) joined the band.

At the beginning of the 21st century, “Eternal Drak” won the City TV network award for best Metal video, with the song Eternal Drak,

In 2002, “Eternal Drak” published its first album (EP) “La Resurreccion De La Orden Guerrera”

In 2005, they recorded their first Long Play “Eternal Drak” but officially released release was in 2012.

In 2007, “Eternal Drak” disbanded.

In 2020, the band moved to Quebec, Canada, and Drakar, Warmessiah, and Reijav came together to create the album “The Past is Gone, A New One is Coming”. In memory of his brother and friend, co-founder and eternal drummer of “Eternal Drak”, Eduardo Martínez, Warhammer.

In 2021, the band’s third Long Play was released, “Drak Metal”, an album with 12 unreleased songs and 1 Cover.

That same year, the band’s line-up was reorganized with the addition of Juan Francisco Avella on drums, and a contract was signed with the Italian label Wormhole Death to physically release the album Drak Metal.

In 2022, the 4th studio album, “Shadow Storm”, was released, and along with it the video clip HIDE YOUR MADNESS was recorded on the Orleans Island in Quebec, Canada.

In 2023, a 2nd Ep is released, “Interdimensional War Of Satan” with 5 tracks.

In 2024, the 5th Long Play “Imprisoned Souls” is released with 10 Tracks.

The Line Up is renewed with Mike Amyot (Lead guitar) and Patrick Auger (Drums)

In 2025, a 3th EP, “The Warrior Order,” with 5 tracks.

Currently, Eternal Drak is still more alive than ever and is determined to live up to its name to continue distorting its strings, hitting its drums, strumming its voice, with more Metal, melody, and harmony than ever.

The perspectives predict that its vibrations start from North America, crossing the entire American continent, with a resonance so strong that the waves of the Pacific and the Atlantic will make them travel to the other continents.

Discography
2026 – The Violence Of Time – LP

2025 – The Warrior Order – EP
2024 – Imprisoned Souls – LP
2023 – Interdimensional War Of Satan – EP
2022 – Shadow Storm – LP
2021 – Drak Metal – LP
2021 – My God Is The Sun (single)
2020 – Lets Get Rude (single)
2020 – The True Meaning Of Life (single)
2020 – The Past Is Gone, A New One Is Coming – LP
2012 – Eternal Drak – LP
2002 – La Resurreccion De La Orden Guerrera – EP

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