Tag: album

0 Quebec’s FORGOTTEN TALES Announce New Album “Other Times”; Unveil First Single “A Thousand Lies”

October 8, 2026
by Asher
· Forgotten Tales (Rockshots Records) · Music News

NEWS RELEASE

Montreal, QC – October 8, 2026

Quebec’s FORGOTTEN TALES Announce New Album “Other Times”; Unveil First Single “A Thousand Lies”

Quebec, Canada’s FORGOTTEN TALES return with their new album, “Other Times,” set for release on February 12th, 2027 via Rockshots Records.

Arriving after an extended hiatus, the record reconnects the band with its melodic power metal roots while introducing a more direct, guitar-driven approach. The first glimpse into this new chapter comes with “A Thousand Lies”, a fast-paced track addressing the chaos of modern misinformation, accompanied by an official music video.

LISTEN – https://lnk.to/kmcyRF

WATCH – https://www.youtube.com/watch?v=XSuH3rVkA7Q

Rather than following a single narrative, “Other Times” explores different sides of the human experience and the ways people respond to challenges and change. Across its ten tracks, the band touches on inner conflict, anxiety, insomnia, loyalty, loss, misinformation and missed opportunities, as well as broader reflections on humanity’s evolution. Running through these different subjects is a common thread of resilience, personal growth, and the passage of time – the idea that ultimately inspired the album’s title.

The foundations of traditional power metal remain firmly in place, from fast-paced riffing and double-kick drumming to layered choirs and melodic hooks. At the same time, subtle progressive touches bring variety to the arrangements without disrupting the album’s immediate character, while a modern production gives the performances clarity and impact.

At the center of the record is vocalist Sonia Pineault, whose performance moves naturally between its more forceful and introspective moments. Her melodic and expressive delivery gives each song its own emotional character, complemented by the guitar interplay of Martin Desharnais and Marc-Olivier Lavoie.

The first single, “A Thousand Lies”, captures many of these elements in a fast-paced symphonic power metal track driven by galloping rhythms, choir accents, dual-guitar harmonies, and a soaring chorus. Darker, rapid-fire verses and Pineault’s cynical vocal delivery give the song a sharper edge, while intricate guitar exchanges and an expressive solo from Desharnais reinforce its melodic side.

Behind that energy lies a warning about misinformation and the gradual loss of critical thinking. The lyrics question how easily unverified claims can be accepted and shared, shifting part of the responsibility back to the individual rather than portraying manipulation only as an external force. That idea is summed up in the song’s final warning: “Careful where you stand.”

Guitarist and songwriter Martin Desharnais explains:

“I wrote this song thinking about everything that was going down during COVID. The whole world was turned completely upside down, and people just didn’t know what to hold onto anymore. Even though the theme is heavy, I really wanted to keep a catchy mood – almost ironic or cynical. It’s an angry track, but delivered with a sharp touch of sarcasm. Musically, I wanted to channel that energy into fast verses, big dual-guitar harmonies, and a massive chorus that sticks in your head. It’s aggressive, it’s melodic, and it represents exactly the kind of energy we wanted to bring forward.”

With “Other Times”, FORGOTTEN TALES return after their extended absence with an album that stays connected to the band’s musical identity without simply looking back. Its ten tracks bring together the energy of classic power metal and a songwriting perspective shaped by time, experience and change.

For fans of: Stratovarius, Helloween and Nocturnal Rites.

PRE-ORDER “Other Times” here: https://rockshots.eu/products/forgotten-tales-other-times-cd

Tonight, October 8, 2026, Forgotten Tales will officially present their new album “Other Times” with a special release show at La Chapelle Spectacles – Québec City.

The band will take the stage to celebrate their new album in a special evening dedicated to the new record and to their fans.

📍 La Chapelle Spectacles
📅 Thursday, October 8, 2026
🚪 Doors: 7:00 PM
🎤 Show: 8:00 PM

Track Listing:
1. Echoes – 0:55
2. Pessimus Inimicus – 6:12
3. A Thousand Lies – 4:17
4. No Going Back – 5:24
5. I’ll Be Home – 5:30
6. Pain Of The Century – 7:06
7. Your Knight – 5:02
8. Morpheus – 4:55
9. Other Times – 5:40
10. The Caravan – 7:02
TOTAL: 52:03

Forgotten Tales are:
Sonia Pineault: Vocals
Martin Desharnais: Guitars & Backing Vocals / Author & Composer
Marc-Olivier Lavoie. Guitars & Backing Vocals
Xavier Gonthier-Blouin: Drums
Cédric Langlais: Bass

More info:
https://www.rockshots.eu

https://www.facebook.com/ForgottenTales/

https://www.instagram.com/forgottentalesband/

About:

Forgotten Tales is a Canadian symphonic power metal band from Québec City, founded in 1999 by Martin Desharnais, guitarist and songwriter, and Sonia Pineault, lead vocalist.

From the beginning, the band had a simple goal: introduce Québec audiences to European power metal at a time when international bands from the genre were rarely seen in the province. Forgotten Tales started out playing covers and quickly built a following, selling out several early shows. In November 2000, the band reached an important milestone by opening for Nightwish in Montréal.

That experience changed everything. Forgotten Tales gradually moved away from covers and began focusing entirely on original material. With Martin Desharnais leading the musical direction, the band developed a sound built around powerful melodies, virtuosic lead and rhythm guitars, complex arrangements, and precise musicianship. At the heart of it all is Sonia Pineault, whose powerful and expressive voice quickly became one of the band’s defining characteristics. On stage, her energy, charisma and genuine connection with the audience bring the songs to life.

The band released its debut album, “The Promise“, in 2001 with distribution in Canada, Japan and Russia. Forgotten Tales went on to share the stage with major international metal acts including Edguy and Gamma Ray in 2002, followed by Kamelot and DragonForce in 2005. In 2004, the band released its second album, “All the Sinners,” which was also distributed internationally.

Over the years, Forgotten Tales collected its share of unforgettable moments. In 2006, at Québec City’s Capitole, Tony Kakko of Sonata Arctica invited Sonia on stage to perform the classic Black Sheep together. In 2007, the band performed at the Québec City Summer Festival alongside HammerFall, followed by a show with Stratovarius in 2009.

In 2010, Forgotten Tales released its third album, “We Shall See the Light“. Around this period, Pat Vir and Frédérick Desroches left the band while guitarist Marc-Olivier Lavoie, who had joined the lineup in 2009, became part of the band’s next chapter. Marc-Olivier has remained an important part of Forgotten Tales ever since.

After the release of the album, the band stepped away for a 15-year hiatus.

In 2026, Forgotten Tales is back with “Other Times“, its fourth album. The original core of Martin Desharnais and Sonia Pineault returns alongside long-time guitarist Marc-Olivier Lavoie (a member since 2009), joined by drummer Xavier Gonthier-Blouin (who came on board in 2024) and bassist Cédric Langlais (who joined in 2025).

This new lineup brings together experience, continuity and fresh energy. Xavier and Cédric bring their own personalities and musical drive while Marc-Olivier provides a strong connection to the band’s history. Together, the dual-guitar attack of Martin and Marc-Olivier gives the compositions a new dimension, creating the perfect foundation for Sonia’s powerful voice.

The connection with the past is still there as well. Frédérick Desroches returns as a guest musician on “Other Times“, composing the album’s introduction and creating a musical bridge between the band’s past and its new chapter.

After more than 25 years, Forgotten Tales returns with the same passion but with renewed energy. “Other Times” marks the beginning of a new chapter: reconnecting with longtime fans, reaching a new generation, and taking the music of Forgotten Tales beyond Canadian borders.

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0 Montreal’s KILLED BY SORROW Unleashes “The End Is Near” From Upcoming Album “Empire of Excess” Out Oct 2026

October 8, 2026
by Asher
· Killed By Sorrow · Music News

NEWS RELEASE

Montreal, QC – October 8, 2026

Montreal’s KILLED BY SORROW Unleashes “The End Is Near” From Upcoming Album “Empire of Excess” Out Oct 2026

After releasing their first track, “Betrayal,” and the dark, atmospheric “The Burial,” Killed By Sorrow continues building anticipation for their sophomore album, “Empire of Excess,” with what may be their most explosive offering yet: their third single, “The End Is Near.”

The song perfectly captures the band’s ability to balance aggression, melody, and storytelling. It opens the album with devastating impact, painting a grim vision of a world consumed by a deadly viral outbreak.

“A viral plague consumes the world, turning the infected into hunters. Civilization collapses, hope dies, and survival becomes the only instinct left,” adds the band.

Musically, the song showcases some of the strongest elements of Killed By Sorrow‘s sound, with commanding vocals, punishing breakdowns, and a standout guitar solo driving the apocalyptic narrative forward.

As the third single, “The End Is Near” joins its predecessors to offer a glimpse into the diverse sonic landscape listeners can expect from “Empire of Excess”.

Watch and listen to “The End Is Near” at https://www.youtube.com/watch?v=XKZuGNhoqH8

Spotify – https://open.spotify.com/track/57UlcmtAL0LoNjSwy96shL

Set for release on October 23, 2026, “Empire of Excess” represents the next evolution of Killed By Sorrow‘s sound. Built around ten tracks that blend metalcore, thrash metal, progressive metal, melodic metal, and even hardcore punk rock influences, “Empire of Excess” embraces variety while maintaining a cohesive identity rooted in heavy riffs, memorable hooks, and emotionally driven songwriting.

Lyrically, “Empire of Excess” explores themes ranging from societal collapse and consumerism to betrayal, addiction, friendship, perseverance, personal struggle, and redemption. Each song presents a different perspective and atmosphere, ensuring that no two tracks feel the same.

“There is a track for everyone in there. You got some fast, some downbeat, even some punk rock. There is definitely a track that will please any kind of listener. We pride ourselves on making sure the album has a different vibe from start to finish,” adds Ham.

The album’s title track, “Empire of Excess,” tackles modern society’s obsession with endless consumption, portraying a world where the pursuit of novelty and material gain leads to emotional emptiness and inevitable collapse. Throughout the record, Killed By Sorrow combine crushing breakdowns, aggressive grooves, soaring melodies, and emotionally resonant lyrics into a listening experience designed to connect with both longtime fans and newcomers alike.

“Fans will connect strongly with this release. It captures the intensity and aggression that defined our early sound, but with a more mature and refined mix,” comments Ham.

Killed By Sorrow began as a tight‑knit group of friends channeling the intensity of the music they loved, evolving from basement rehearsals into a serious project once their natural chemistry and shared vision became undeniable. Emerging from Montreal’s South Shore metal scene in the mid‑2000s, the band shaped their identity around the emotional weight of Poison the Well, the razor‑sharp riffing of Unearth, and the melodic precision of Trivium, blending aggression with dynamic, melody‑driven structures.

During these formative years, Killed By Sorrow built a reputation through high‑energy performances across local venues, highlighted by a milestone moment sharing the stage with Swedish hardcore heavyweights Raised Fist, a show that cemented their credibility within the scene.

Recommended for fans of Unearth, Killswitch Engage, Poison The Well, Trivium, and Lamb of God, “Empire of Excess” is available for pre-save/ pre-order at the following links:

Spotify – https://distrokid.com/hyperfollow/killedbysorrow/empire-of-excess

Bandcamp – https://killedbysorrow.bandcamp.com/

Previous Singles:

“Betrayal” at https://www.youtube.com/watch?v=i0PWyiTedfs

“The Burial” at https://www.youtube.com/watch?v=2QAW0l6NjTg

Track Listing:
1. The End is Near – 3:38
2. Empire of Excess – 3:04
3. The Burial – 3:28
4. Betrayal – 3:51
5. Never Give Up – 2:37
6. All My Brothers – 3:18
7. In The Spotlight – 3:17
8. Killed By Sorrow – 3:29
9. Unchained – 3:42
10. Stay In Line – 3:28
Album Length: 33:55

Band Line-up:
Sébastien Mailloux – Vocals
Martin Bersier-Carpentier – Bass
Tommy Forand – Guitar Lead
Samuel Ham – Guitar Rhythm
Mathieu Lassonde – Drums

More info:

https://killedbysorrow.com/

https://www.facebook.com/KilledbySorrow/

https://www.instagram.com/killedbysorrowband

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“Canadian underground hardcore punks in Killed By Sorrow’s newest single, Betrayal, definitely stays loyal to the metalcore scene by actually sounding like thrash metal tones mixed with a hardcore punk grit and attitude. Heavily distorted rhythms sound closer to your traditional hardcore, but paired with your traditional style of hardcore punk vocals, Betrayal lets you know not to cross Killed By Sorrow. Huge basslines underneath and in-the-pocket drumming made this one an interesting approach in a crowded metalcore genre, and it’s more than worth a few listens.” – Metal Institute of Thrashology (2026)

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0 SF Bay Area Thrashers ABSOLUTE DARKNESS Unleashes New Single “Above The Law” From Upcoming Album “Witness To A Dying World”

October 8, 2026
by Asher
· Absolute Darkness · Music News

NEWS RELEASE

Montreal, QC – October 8, 2026

SF Bay Area Thrashers ABSOLUTE DARKNESS Unleashes New Single “Above The Law”

Sophomore Album “Witness To A Dying World” Out Oct 23rd, 2026

L-R- Orson Sojo – Bass, Ron Dorn – Rhythm Guitar/Lead Vocals, Scott Russell – Drums, Douglas Vetter II – Lead Guitar/Backup Vocals

Photo Credit by Eddie Granillo

Bay Area death/thrash metal force Absolute Darkness has released their third single, “Above The Law,” from their forthcoming sophomore album, “Witness To A Dying World,” due out on October 23, 2026.

Following the release of the war-torn “Attritional Warfare” and the opioid crisis-focused “Snake Oil,” the new single continues the album’s exploration of power, corruption, and the human consequences of societal collapse. Combining razor-sharp thrash riffs, melodic guitar harmonies, blistering solos, and uncompromising aggression, “Above The Law”.

“This is probably the most collaborative song on the album. Everyone contributed ideas that found their way into the final version, making it one of the most enjoyable songs to write,” says Ron Dorn (Guitar / Lead Vocals).

Musically, “Above The Law” wastes no time launching into high-speed death/thrash intensity before opening into a dynamic mid-section that showcases layered guitar harmonies and a standout solo from Douglas Vetter II. The track ultimately drives back into a powerful final chorus, highlighting the band’s balance of aggression and memorable songwriting.

Lyrically, the song examines the mindset of an individual who believes themselves completely immune from consequences.

“It’s told from the perspective of someone who believes they’re completely untouchable. They abuse their power, blame everyone else for their actions, and don’t even bother trying to hide what they’re doing because they don’t believe there will ever be consequences,” explains Dorn.

Watch “Above The Law” at https://www.youtube.com/watch?v=5v6BRGFcnXY

Formed in 2015, Absolute Darkness has built its reputation by merging the Bay Area thrash traditions of Testament, Vio-lence, and Exodus with the crushing aggression of Death, Cannibal Corpse, and Amon Amarth. The band’s sound combines relentless riffs, layered guitar work, memorable solos, and socially conscious storytelling that addresses subjects many artists avoid.

“Witness To A Dying World” marks a significant milestone for the band. While 2021’s “Failure Of State” represented a leap forward in songwriting and production, the upcoming album is the first Absolute Darkness release written collaboratively by the current lineup from beginning to end.

The album explores themes of corruption, authoritarianism, propaganda, war, addiction, homelessness, exploitation, and social decay through character-driven narratives rather than direct political commentary. Musically, it expands on the band’s trademark blend of thrash metal, melodic death metal, and traditional death metal while emphasizing memorable melodies, harmonized guitars, and dynamic arrangements. In addition to ten original tracks, “Witness To A Dying World” includes a cover of “World In A World” by legendary Bay Area thrash pioneers Vio-lence.

For band founder Ron Dorn, the song carries a particularly personal significance. Having grown up in the San Francisco Bay Area during the rise of the thrash movement, Dorn attended shows featuring Vio-lence, Death Angel, and Forbidden while those bands were still establishing their legacy.

Rather than reinventing the classic, Absolute Darkness approached the cover as a tribute, remaining faithful to the original arrangement while incorporating the band’s modern production and heavier vocal approach.

Recommended for fans of Testament, Vio-lence, Exodus, At The Gates, The Crown, and Amon Amarth, “Witness To A Dying World” will be available on October 23rd, 2026.

Album pre-order – https://absolutedarkness1.bandcamp.com/album/witness-to-a-dying-world

Track Listing:
1. Above The Law – 3:56
2. Attritional Warfare – 3:50
3. World Decay – 3:28
4. Snake Oil – 4:14
5. Different Illegally – 3:33
6. Loyalty To Me – 3:32
7. I Guess I Die – 3:59
8. Big Lies – 3:51
9. Extreme Accountability – 3:34
10. World In A World (Vio-lence Cover) – 4:13
Album Length: 38:21

Band Lineup:
Ron Dorn – Guitar/Lead Vocals
Douglas Vetter II – Lead Guitar/Backup Vocals
Orson Sojo – Bass
Scott Russell – Drums

More info:

https://www.facebook.com/BandAbsoluteDarkness

https://www.instagram.com/absolutedarkness_band/

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“Absolute Darkness go straight for the throat with aggressive riffs, awesome grooves that will make you bang your head, and seriously neckbreaking thrashy riffs. This offering absolutely slams.” – Review Score: 8.15/10 – Drako’s Death Metal News & Reviews

“Combining death/thrash influences… stronger production values that hopefully will garner more buzz and attention.” – Dead Rhetoric (Failure Of State 2022)

“Part album, part call to arms… a rabble-rousing affair and a slamming indictment of modern-day society.” – The Headbanging Moose (Failure Of State 2022)

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0 VIOLET ETERNAL Announces New Album “Azure Stardust” Out Jan 2027 + Unveils Music Video “Azure Explosion”

September 23, 2026
by Asher
· Music News · Violet Eternal (Rockshots Records)

NEWS RELEASE

Montreal, QC – September 23, 2026

VIOLET ETERNAL Announces New Album “Azure Stardust” Out Jan 2027 + Unveils Music Video “Azure Explosion”

Japanese-Italian melodic metal band VIOLET ETERNAL announces their second album, “Azure Stardust”, set for worldwide release on January 22nd, 2027. The new record marks the band’s second album with Rockshots Records, continuing the collaboration that began with their 2024 debut, “Reload the Violet”.

Formed in 2023 around Japanese guitarist Jien Takahashi (Majustice, Michael Vescera Project) and Italian vocalist Ivan Giannini (Derdian, The 7th Guild, ex-Vision Divine), VIOLET ETERNAL debuted with “Reload the Violet” in 2024. The band has since evolved into a five-piece with the addition of guitarist Andrea Cappellari (Nekomata), bassist Ollie Bernstein (Illusion Force, Fiverings, Michael Vescera Project), and drummer YAMATO (Neu, UCHUSENTAI, Michael Vescera Project), an expanded lineup that plays a central role in shaping the sound of their second album.

With “Azure Stardust”, VIOLET ETERNAL retain the melodic and power metal foundations of their debut while developing a broader and more dynamic approach to songwriting. The expanded lineup gives the band more room to explore different arrangements, tempos and moods while melody remains at the heart of their musical identity.

Rather than relying on a single formula, “Azure Stardust” moves from high-speed melodic metal to more dramatic mid-tempo sections, ballads and atmospheric passages. This wider musical range allows the band to explore different moods without losing the melodic focus that defines VIOLET ETERNAL, bringing together elements rooted in the European melodic metal tradition with the Japanese sense of melody that has characterized the project from the beginning.

The world’s first look at this new era arrives with “Azure Explosion,” a track that channels the album’s most urgent, high‑velocity energy into just over five minutes.

Racing beyond 197 BPM, “Azure Explosion” is propelled by relentless rhythms and rapid-fire riffs, with Jien Takahashi and Andrea Cappellari’s twin-guitar work moving between tightly coordinated passages, harmonized leads and sweeping melodic lines. Ivan Giannini’s powerful upper-register vocals cut through the high-speed arrangement, reinforcing the song’s melodic character even at its most intense.

Yet the track is not conceived simply as an exercise in velocity. Its development introduces more lyrical passages and dramatic transitions that break up the intensity and allow the melodies to breathe. These contrasts are central to the song: the speed provides the initial impact. At the same time, changes in dynamics and melodic direction reveal the broader musical language VIOLET ETERNAL explores throughout “Azure Stardust”.

Like a flash of blue light across the night sky, “Azure Explosion” reflects the imagery behind the album itself: bright, fast-moving, and dramatic. In this sense, the song works as a natural introduction to “Azure Stardust”, presenting the band’s high-speed melodic metal core while also hinting at the more varied arrangements found across the record, mixed and mastered by Dennis Ward at TrakShak Studios.

Listen to “Azure Explosion” here: https://lnk.to/nujqM6

Watch the official music video for “Azure Explosion”: https://www.youtube.com/watch?v=NPqPAqgFW_k

For fans of: Stratovarius, Helloween, Sonata Arctica

Pre-order “Azure Stardust” (release date January 22, 2027): https://rockshots.eu/products/violet-eternal-azure-stardust-cd

Track Listing:
1. The World Beyond the Door – 6:41
2. Azure Explosion – 5:29
3. Into the Deep Blue – 3:58
4. I Can Hear Your Heart – 5:11
5. Weekend – 3:42
6. Singularity – 3:22
7. Techno Optimist – 3:29
8. Mars – 3:30
9. Arianne – 6:09
10. RE: Gradational Sky – 8:34
Total: 50:05

More info:

https://rockshots.eu/

https://www.facebook.com/p/Violet-Eternal-61555241974232/

https://www.instagram.com/violet_eternal_/

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0 SHORES OF NULL Unveils First Single “Bleed to Life” From New Album “Homesick” Out October 2026

July 14, 2026
by Asher
· Music News · Shores of Null (Spikerot Records)

NEWS RELEASE

Montreal, QC – July 14, 2026

SHORES OF NULL Unveils First Single “Bleed to Life” From New Album “Homesick” Out October 2026

Album Out October 16th, 2026 via Dusktone

Album Guests – Natalie Koskinen (Shape of Despair) and Shaun MacGowan (My Dying Bride)

Rome, Italy’s melodic death doom collective Shores of Null open a new chapter with the launch of “Bleed to Life,” the first single and music video taken from their forthcoming album “Homesick,” set for release October 16th, 2026 through label Dusktone.

The track marks the beginning of the band’s next era, one defined by sharpened songwriting, emotional depth, and the unmistakable blend of doom, gothic, blackened, and melodic death metal that has become their signature.

“Bleed to Life” stands among the most aggressive yet melodic compositions in the band’s catalogue. Davide Straccione (vocals) explains that the song’s core theme is the paradox of finding life through pain, an inversion of the familiar phrase bleed to death that instead celebrates growth through suffering.

The track’s shadows represent traumas, memories, and scars that cannot be outrun. Instead, the band embraces them, returning to those emotional spaces in search of understanding and acceptance. The result is a song that feels both punishing and uplifting, a defining statement for the album ahead.

The single arrives accompanied by a striking new music video, offering fans their first visual immersion into the world of “Homesick.” The imagery amplifies the song’s emotional tension, its collision of vulnerability, heaviness, and catharsis.

Watch and listen to the music video for “Bleed to Life” at https://www.youtube.com/watch?v=s825Pn_EOLg

Spotify – https://open.spotify.com/track/2xHwEaceWZAmKJDK0ANDhO?si=1878359078354a7e

Out October 16th, 2026 via Dusktone, “Homesick” represents the band’s most mature and focused work to date. Conceived as a complete listening experience, the album moves through longing, loss, anger, vulnerability, and the search for belonging. It captures Shores Of Null at their most confident and emotionally honest, balancing crushing moments with some of the most memorable melodies the band has written to date, enriched by guest appearances from Natalie Koskinen (Shape of Despair) with her vocals on The Numbing Void and Shaun MacGowan (My Dying Bride) on several tracks, including violin on Dreaming of a Scar and The Numbing Void.

“The record is an exploration of the deeply ambiguous nature of ‘home’, a place of comfort and identity, but also of pain, fear, and unresolved memory. It is probably the most honest representation of who Shores of Null are today. Behind this record lies a meticulous amount of writing, rewriting, and pre‑production work. At its core lies the idea of home as something deeply ambiguous: a place of comfort and belonging, but also of fear, pain, and memories we can never fully leave behind,” adds vocalist Davide Straccione.

“Homesick” marks a new milestone for Shores of Null as an immersive, emotionally charged work that expands their sonic universe to follow their acclaimed discography, which includes “Quiescence,” “Black Drapes for Tomorrow,” “Beyond the Shores,” “The Loss of Beauty,” and the 2025 split album with Convocation, “Latitudes of Sorrow”.

Recommended for fans of Paradise Lost, Amorphis, Swallow The Sun, Katatonia, and Borknagar, “Homesick” will be available for pre-order (Vinyl, CD, Digital) in the coming weeks.

Track Listing:
1. Allies Before Defeat – 4:35
2. Two Mountains – 4:34
3. Bleed to Life – 4:09
4. Homesick – 5:31
5. Son of the Tide – 4:18
6. Dreaming of a Scar – 5:08
7. Society Is the Murderer – 4:30
8. The Numbing Void – 6:18
9. Another Breath – 3:52
10. Disappear – 4:33
Album Length: 47:32

For more info:

https://www.shoresofnull.com/

https://www.facebook.com/shoresofnull

https://www.instagram.com/shoresofnull

About:

Shores of Null are a Rome‑based metal band known for their seamless blend of blackened intensity, gothic‑doom melancholy, and soaring melodic depth. Since forming in 2013, they’ve built a reputation for immersive, emotionally charged songwriting across acclaimed releases like Quiescence, Black Drapes for Tomorrow, Beyond the Shores, and The Loss of Beauty, supported by major tours and festival appearances across Europe.

Following their 2025 split, Latitudes of Sorrow, the band now enters a new chapter with Homesick (Dusktone, 2026), their most mature and evocative work yet. Featuring guest contributions from Natalie Koskinen (Shape of Despair) and Shaun MacGowan (My Dying Bride), the album explores nostalgia, absence, and the complex meaning of “home,” reaffirming Shores of Null as one of the leading forces in contemporary melodic death‑doom.

Album and Live Band Line-up:
Davide Straccione – Vocals
Gabriele Giaccari – Guitars
Raffaele Colace – Guitars
Matteo Capozucca – Bass
Emiliano Cantiano – Drums

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0 WACKEN METAL BATTLE CANADA Crowns BORNBROKEN 2026 National Final Champion! Band To Play Wacken Open Air!

May 13, 2026
by Asher
· Music News · Wacken Metal Battle Canada

NEWS RELEASE

Montreal, QC – May 13, 2026

WACKEN METAL BATTLE CANADA Crowns BORNBROKEN 2026 National Final Champion!

Band To Play Wacken Open Air! at International Wacken Metal Battle

Photo Credit – Ryan Rumpel – @rumpelstillcam

Let’s get ready to rumble! Canada has spoken. After months of fierce battles from coast to coast, WACKEN METAL BATTLE CANADA has revealed the 2026 national finalist, showcasing the strongest underground metal emerging from the scene today.

Following intense regional clashes, four bands rose above the rest to earn their place at the national final on May 9th in Montreal, QC, taking over Piranha Bar (680 Ste‑Catherine Ouest). There, they unleashed their might before a crowd of die‑hard metal fans and a judging panel of industry veterans, including Luc Laine (CFLX 95.5 FM – Alerte Metallique), Pierre Beaubien (CIBL 101.5 FM – Décibel Métal), Andrew Wieler (CJLO 1690 AM – Metal Director), Kaje Annihilatrix (Promoter, Freelance Metal Writer, Asher Media), Dany Soucy (Nova Spei, Bam&Co‑Heavy Label, Trois‑Rivières Metalfest), and Patrick Loisel (Augury).

Only one band could claim the crown, and BornBroken emerged victorious as Canada’s 2026 national champion, earning the honour of representing the nation at the 35th anniversary of Wacken Open Air and competing in the international Wacken Metal Battle, where bands from over 30 countries collide in a global showdown.

WMBC organizer JJ Tartaglia comments:

“Congrats to BornBroken, they are sure to tear it up at Wacken this summer and do Canada proud!”

BornBroken‘s guitarist and vocalist, Mike Decker, comments on their crowning:

“Winning the Canadian Wacken Metal Battle still hasn’t fully sunk in. We’ve spent years grinding through clubs, hauling gear through snowstorms, playing to half-empty rooms, and fighting for every inch as a band, so this means more to us than we can really put into words. To now represent Canada at Wacken Open Air is something we will never take for granted.

This win belongs to everyone who’s supported BornBroken over the years. Our families, our friends, the promoters who gave us chances, the people who bought merch when we were struggling to keep moving, and every single person who ever stood in front of the stage and gave us their energy. You carried us here as much as we carried ourselves.

We also want to give respect to every band that was part of this year’s battle. The level of talent, passion, and heart we saw was incredible. We may be the band getting on the plane, but we honestly feel like we’re carrying a piece of every one of those bands with us onto that stage in Germany. In our eyes, everyone who stepped into this battle and gave it everything they had is a winner.

We’re proud, we’re grateful, and we’re ready to give Wacken everything we’ve got…”

The final four who clashed at this year’s national final were:

BORNBROKEN (Montreal, QC) – 2026 National Winner

Music Video – Am I Invisible – https://www.youtube.com/watch?v=j3JXTHX0svI

https://linktr.ee/bornbroken

ASHES OF YGGDRASIL (Lloydminster, AB/SK)

Music Video – Razed to the Ground – https://www.youtube.com/watch?v=QzehFwdqY4I

https://ashesofyggdrasilba.wixsite.com/ashesofyggdrasil

EMPALEMENT (Victoria, BC)

Music Video – Blood Dance Of The Dionysian Covenstead – https://www.youtube.com/watch?v=_Mp6H2vRqx8

https://www.facebook.com/Empalement

GRAVEARTH (Oshawa, ON)

Visualizer – Altered Reality – https://www.youtube.com/watch?v=P0Id6miy7cs

https://linktr.ee/Gravearth

======

WMBC 2026 National Final Playlist: https://open.spotify.com/playlist/1Yizi851LwbShAduRaqHf3

About Metal Battle:

The Wacken Metal Battle is an international metal music contest that culminates at the famous Wacken Open Air festival. It features the top bands from each nation, showcasing fresh and young metal music directly from the underground. The contest is open to unsigned metal bands and has become a significant platform for breaking through the local circuit. The 2026 edition of Wacken Metal Battle Canada is currently underway. The winner will have the opportunity to perform at Wacken Open Air, one of the world’s largest metal festivals, attracting tens of thousands of metal fans from around the globe. For more information and updates, you can visit the official Wacken Metal Battle website – https://www.metal-battle.com/

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.

More info:

https://www.facebook.com/WMBCanada.official

https://www.instagram.com/wmbcanada.official/

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Vox & Hops Podcast
The Metal Voice
Décibel Métal (CIBL 101.5 FM)
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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

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““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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0 Prog Metal Newcomers ENTROPIST Introduces Its Concept Album “The Vision” Through “Creation”; Produced by Jamie King (BTBAM, The Contortionist)

May 5, 2026
by Asher
· Entropist · Music News

NEWS RELEASE

Montreal, QC – May 5, 2026

Prog Metal Newcomers ENTROPIST Introduces Its Concept Album “The Vision” Through “Creation”

Produced, Mixed, and Mastered by Jamie King (BTBAM, The Contortionist)

Debut Album “The Vision” Out June 26th, 2026

Clockwise from Top Right: Solomon Smith – Guitars/Backup Vocals, Will Vinson – Guitars, Parker Kitching – Lead Vocals, Jeremy Smith – Bass, Matt Gleason – Drums

Photo Credit – Entropist

Colorado progressive metal outfit Entropist has officially announced their debut full‑length album, “The Vision,” accompanied by the release of their first single and lyric video, “Creation.” The track marks the band’s first official introduction to the metal world, offering a powerful glimpse into the album’s sweeping concept and genre‑spanning sound.

Formed through a decade‑long bond between guitarist/vocalist Solomon Smith, vocalist Parker Kitching, bassist Jeremy Smith, and drummer Matt Gleason, Entropist began in 2013 when the members met as college roommates and neighbors in Greeley, Colorado. After years of jamming, drifting apart, and reconnecting during the COVID era, the band solidified its lineup with the addition of guitarist Will Vinson, whose creativity helped elevate the project into its fully realized form.

“The Vision” is a bold, cinematic progressive metal odyssey built on a dual‑concept narrative: one story set in a fantastical world of demons, celestial beings, and the void, and another grounded in real‑life themes of mental struggle, nihilism, and the search for meaning. Written largely from the perspectives of characters within the story, the album is designed to be experienced from start to finish, with recurring motifs, callbacks, and evolving themes woven throughout.

Musically, the record spans progressive metal, djent, deathcore, metalcore, and post‑hardcore influences, while maintaining a cohesive identity. Fans of Between the Buried and Me, Meshuggah, Opeth, and The Contortionist will find familiar touchpoints, yet Entropist’s voice remains distinctly their own.

To bring the album’s massive sound to life, the band partnered with acclaimed producer Jamie King, whose work with BTBAM and The Contortionist helped define modern progressive metal. His mixing and mastering elevated the album’s intricate compositions into a unified, powerful whole.

The album’s artwork, an impressionist painting by Solomon’s wife, Shannon Bortfeldt, captures the emotional and narrative weight of the album’s opening arcs.

“This album is the culmination of over a decade of work. It contains a personal story that many can relate to, while also containing a crazy esoteric concept for those who are into that sort of thing. It gets really heavy, but has so many unexpected and even victorious moments that truly set it apart,” says guitarist/vocalist Solomon Smith.

Vocalist Parker Kitching adds, “This album is our love letter to metal. When it gets heavy, it gets very heavy, but it also has moments that let you breathe. We want listeners to feel like they’re going on a journey.”

The band’s first single, “Creation,” introduces listeners to the album’s final narrative arc. The track blends bright, triumphant chords, intricate rhythms, soaring vocals, and one of the heaviest breakdowns on the record. Lyrically, it explores themes of building something new, forging meaning, and shaping the world one wants to see.

The lyric video showcases the song’s emotional intensity and conceptual depth, offering fans their first immersive step into the universe of “The Vision.”

Watch and listen to the lyric video for “Creation” via its premiere on TheProgSpace HERE.

Spotify pre-save – https://distrokid.com/hyperfollow/entropist1/creation

“The Vision” is due out on June 26th, 2026, and available for pre-save at the following links:

Album pre-order – https://entropistcolorado.bandcamp.com/

Track Listing:
1. Intense Warmth (4:00)
2. Devour Us (6:34)
3. I Hunger (5:34)
4. The Ritual (8:36)
5. Desert of Limbo (6:04)
6. The Wandering (6:47)
7. Creation (8:49)
8. Revelation (14:12)
Album Length: 1:00:40

Album Recording Credits:
• All songs performed by: Entropist
• All songs written by: Entropist
• Produced by: Jamie King
• Mixed by: Jamie King
• Mastered by: Jamie King
• Album Artwork by: Shannon Bortfeldt

Album Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals
Cecily Meade – Violin

Live Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals

More info:

https://entropistband.com/

https://www.facebook.com/EntropistBand

https://www.instagram.com/entropistband

About: Entropist is a Denver‑based progressive metal band blending technical musicianship, emotional storytelling, and genre‑spanning heaviness. After reconnecting during the pandemic and completing their lineup with guitarist Will Vinson, the band has crafted a sound that is ambitious, immersive, and unapologetically metal. They have shared the stage with Nightwraith, So This Is Suffering, Eternal Bloom, The Dawn Chose Orion, WOR, and Fused by Defiance.

-30-

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0 Feel The Destructive Onslaught of Pompeii’s End w/ ASHEN HORDE’s New Single “Voids in the Ash” From Upcoming Album “The Harvest” Out May 2026

April 9, 2026
by Asher
· ASHEN HORDE · Music News

NEWS RELEASE

Montreal, QC – April 9, 2026

Feel The Destructive Onslaught of Pompeii’s End w/ ASHEN HORDE’s New Single “Voids in the Ash” From Upcoming Album “The Harvest” Out May 2026

Photos by @still.squill (Trevor); Photo Dun Right (Karl); unknown (Robin)

Extreme metal shapeshifters Ashen Horde will release their highly anticipated fifth full‑length album, “The Harvest,” on May 1st, 2026. Following the unveiling of the first single and video, “Entropy and Ecstasy,” the band now returns with the album’s second single, “Voids in the Ash,” a haunting and dynamic track inspired by the final days of Pompeii.

“The Harvest” (mixed by Ricardo Borges and mastered by Tony Lindgren at Fascination Street Studios) marks a new era for Ashen Horde, one defined by expanded vocal range, sharpened contrasts, and a thematic focus on endings. While not a concept album, the record threads together stories of collapse, decay, and transformation, each approached from a different angle. It is also the band’s first full‑length to feature vocalist Karl Chamberlain (Autolatry, Skala, Alcyone), whose performance pushes the group into its most melodic and emotionally varied territory yet.

Originally founded as a solo project by guitarist and primary songwriter Trevor Portz, Ashen Horde has evolved into a full lineup featuring vocalist Karl Chamberlain and Australian-based drummer Robin Stone (The Amenta, Convulsing). Ashen Horde has long been known for its refusal to be confined to a single extreme‑metal subgenre. “The Harvest” continues that tradition, weaving together black metal, death metal, progressive elements, and even shades of 90s alternative.

The album’s first single, “Entropy and Ecstasy,” introduced listeners to this expanded palette. The track, described by Portz as “Voivod‑with‑blastbeats energy,” follows a couple who find exhilaration in the chaos of a collapsing world. The song also served as Chamberlain’s “audition,” with his chilling delivery of the line “how can we thrive if we expect to survive?” immediately cementing him as the band’s new voice.

The newly released second single, “Voids in the Ash,” shifts into darker, moodier territory. Musically, the track blends grunge‑inspired vocal harmonies with sudden bursts of black‑metal ferocity. Lyrically, Chamberlain tells the story of Pompeii from the perspective of both its doomed inhabitants and the gods who buried them.

“It was the last song I recorded vocals for, and it became one of the most special to me,” adds Chamberlain.

Watch and listen to the video for “Voids in the Ash” via its premiere on Decibel Magazine HERE.

While each song on “The Harvest” stands alone, all share a connection to the record’s overarching theme of endings. “Autumnal” is inspired by the Sensorio light installation in Paso Robles; the track explores Pagan harvest‑season rituals and builds from quiet ambience into full black‑metal intensity. “Entropy and Ecstasy” is a chaotic, melodic exploration of passion amid catastrophe, influenced by Voivod and early pandemic anxieties. “Backward Momentum” is a genre‑bending blend of Opeth‑style clean vocals, unconventional riffs, and 90s‑inspired rock breaks, paired with lyrics condemning society’s slide into superstition and conspiracy. “Remnant” is a tale of a hunter lost in a storm, taken in by a stranger, only for nature to claim them both. “A Place in the Rot” is inspired by Swamp Thing; the track meditates on mortality and the inevitability of returning to the soil. “The Apparition”, the heaviest track on the album, is told from the perspective of a ghost condemned to watch humanity’s cruelty without the power to intervene. The album closer and title track, “The Harvest,” imagines a hidden entity judging humanity’s self‑destruction, waiting to emerge and devour everything once hope is gone.

For over 10 years, Ashen Horde has crafted extreme metal that defies easy categorization. Rooted in black and death metal but unafraid to incorporate progressive, melodic, and alternative influences, the band appeals to fans of Opeth, Enslaved, Amorphis, Ihsahn, and other genre‑bending heavyweights.

Album pre-order (release date May 1, 2026) available on limited splatter vinyl and CD (along with t-shirt bundles) on Bandcamp, as well as everywhere digitally – https://ashenhorde.bandcamp.com/album/the-harvest

Music Video – Ecstasy and Entropy – https://www.youtube.com/watch?v=zud62AXzvsw

Tour Dates:
May 14 – Montclair, NJ – The Meatlocker
May 15 – Wallingford, CT – Cherry Street Station
May 16 – Brattleboro, VT – Midnight’s

Track Listing:
1. Autumnal (6:12)
2. Entropy and Ecstasy (5:47)
3. Backward Momentum (5:21)
4. Voids in the Ash (5:41)
5. Remnant (4:37)
6. A Place in the Rot (4:38)
7. Apparition (4:57)
8. The Harvest (5:46)
Album Length: 43:03

Credits:
Mixed by Ricardo Borges and mastered by Tony Lindgren at Fascination Street Studios
Artwork by Venus Kohana (venuskohana.com)

Lineup:
Trevor Portz: Guitar, Bass, Harmony Vocals
Karl Chamberlain: Vocals
Robin Stone: Drums

More Info:

https://www.facebook.com/AshenHorde/

https://www.instagram.com/ashenhorde

-30-

“The harvest is coming! The new Ashen Horde album is a multi-faceted journey into every nook and cranny of extreme metal. “The Harvest” is challenging and quirky, but unlike a lot of other progressive/experimental releases, it never loses track of the key ingredient in music – good songwriting. All tracks are well-crafted and interesting in their own right, and the skillful instrumental performances are more like the icing on the cake and not the main focus. Highly recommended!” – Nik Sundin (Dark Tranquillity)

“The song (Entropy and Ectasy) captures this dichotomy of collapse and exhilaration — of entropy and ecstasy — through a fast-spinning (and head-spinning) kaleidoscope of sound. The moods of the music change along the way, but even the relatively slower and more desolate passages include inventive and intriguing nuances. Karl Chamberlain’s remarkably multi-faceted voice is a perfect match for the remarkably multi-faceted nature of the music. He expels brutal death metal gutturals and ripping black metal screams, but he also sends his singing voice in ravishing upward arcs that are spine-tingling to hear, and down into gloomy troughs. As for the surrounding music, it’s intricate and exhilarating, especially when the band are in full flight, discharging rapidly darting and maniacally swirling notes, incendiary bursts of tremolo’d delirium, or riffing that feverishly slashes with vicious, serrated edges. In less frantic phases, the music dismally groans and throbs, creating a pall of desolation, even when Chamberlain’s voice might be reaching for the clouds. The fretwork also includes angular progressions that generate moods of disorientation and fearfulness, and the song further includes an astonishing guitar solo that all by itself seems to capture the song’s thematic dichotomy of collapse and jubilation. Perhaps needless to say, Robin Stone’s drumming is as constantly changing as everything else, and surgically crafted to match all the other head-spinning, pulse-pounding, and heart-sinking twists in this shapeshifter of a song.” – No Clean Singing

“Antimony; 3/5 rating; “the sound Ashen Horde has developed over three albums is pretty much theirs alone. It’s a dense but accessible approach that rewards both casual listens and sustained attention.” – Angry Metal Guy (2023 – Antimony)

“Equal parts blackened madness, death metal riffing, and clean vocals, “The Neophyte” should get just about anyone stoked for Antimony.” – Metal Injection (2023 – Antimony)

“an amazing odyssey all around and the amount of remarkable coherency as well as the instrumentation work and musicianship is just top notch.” – Metal Purgatory (2023 – Antimony)

“Progression like what Ashen Horde has undergone over the years is what the best tales in the underground are made out of.” – Head-Banger Reviews (2023 – Antimony)

“Fallen Cathedrals; 4.0 rating; “I can’t recommend this enough for fans of black and death metals being combined in unique ways.” – Angry Metal Guy (2019 – Fallen Cathedrals)

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0 Gore House Prod. – Streaming Now! ONCHOCERCIASIS ESOPHAGOGASTRODUODENOSCOPY’s New Album “Fugue Gnawed from the Scabbed God Cerebrum”

April 2, 2026
by Asher
· Music News · Onchocerciasis Esophagogastroduodenoscopy (Gore House Productions)

NEWS RELEASE

Montreal, QC – April 2, 2026

Streaming Now! ONCHOCERCIASIS ESOPHAGOGASTRODUODENOSCOPY’s New Album “Fugue Gnawed from the Scabbed God Cerebrum”

L – R – The Popuko – Guitars, Drums, Bass, Backing Vocals, Alice Simard – Guitars, Drums, Jesse Agiomamitis – Vocals

Apocalyptic brutal slamming death metal entity Onchocerciasis Esophagogastroduodenoscopy (OxE) has partnered with Decibel Magazine for the exclusive stream premiere of their long‑awaited full‑length album, “Fugue Gnawed from the Scabbed God Cerebrum,” ahead of its official release on April 3, 2026, through Stillbirth Records / Gore House Productions.

The Decibel stream marks the first opportunity for fans to experience the album in its entirety, an eleven‑track descent into dissonant barbarity, cosmic violence, and experimental extremity. The LP represents OxE’s most ambitious and punishing work to date, expanding their sonic identity far beyond the foundations laid on their previous EP, “The Fallen Lament.”

Listen to the album in full on Decibel Magazine HERE.

OxE’s lineup spans three countries: Quebec City, Canada (Alice), Australia (Jesse), and Germany (Popu), yet their creative synergy is seamless. Originally a solo project by guitarist Alice Simard, OxE evolved into a collaborative force after Jesse joined in 2019. Popu, a longtime fan, later connected with Alice through their shared love of the obscure bullet‑hell game Touhou Project, completing the trio. Their influences range from Disentomb, Artificial Brain, and Deathspell Omega to video games (Dark Souls, NieR), anime (Berserk, Evangelion), and global folklore.

“Fugue Gnawed from the Scabbed God Cerebrum” is a meticulously crafted sonic nightmare. Musically, the album pushes OxE into their most experimental territory yet, layering warped synths, organic instrumentation, and alien sound design between the carnage of their signature riffs and gutturals.

“Start‑to‑finish, the album is dissonant, punishing, and disorienting. Many of the lyrical subjects are larger-than-life. The songs tell the story of a single entity, a godslayer, on a God‑of‑War‑esque rampage through the universe, all veiled in obscurity,” says vocalist Jesse Agiomamitis.

German multi‑instrumentalist The Popu adds:

“This is the most experimental OxE release to date. The synths and organic layers were destroyed and reshaped to give the soundscape an alien feel. I was heavily inspired by Nithing’s ‘Agonal Hymns and Dripping’s ‘Disintegration of Thought Patterns During A Synthetic Mind Traveling Bliss.’”

The album’s artwork, created by Mei Maro, reflects the band’s fascination with folklore, mythology, and surreal horror, an amalgamation of the influences that shaped the record’s writing.

From the chaotic opener “Conquering Divinity” to the melodic yet brutal closer “Forged in the Blackest Reaches of Blasphemy,” the album traverses a wide spectrum of textures and emotional weight. “Heaven’s Empty Halls” introduces dungeon‑synth‑esque atmospheres. “Entombed Within the Infinite Panopticon” delivers one of the album’s heaviest breakdowns. “Abyssikataplexika” showcases some of the most inhuman vocal performances OxE has ever recorded. “Apotheotic Apotemnophilia” explores melodic territory while maintaining crushing heaviness. Every track contributes to the overarching narrative of cosmic annihilation and psychological descent.

Recommended for fans of Deathspell Omega, Disentomb, Artificial Brain, First Fragment, Disgorge, and Ulcerate, OxE‘s “Fugue Gnawed from the Scabbed God Cerebrum” is their longest and most refined release yet: no filler, no restraint, and no compromise.

Album pre-order for CD, Cassette, and digitally from Stillbirth Records / Gore House Productions at https://orcd.co/scabbed-god-cerebrum

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

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

More info:

https://gorehouseproductions.com/

https://www.facebook.com/OnchoOfficial

https://www.instagram.com/onchocerciasis_official

-30-

“First of all besides the insane moniker and album title, I don’t even know how to label this shit. If you know, you know… It sounds like an army of angry lawnmowers rolling over cliffs and boulders, LOL! Fuck it… four tacos out of five!” – Micha Kite – Metal Underground

“A complex and bizarre name reflects the complex and bizarre nature of this band. Mixing Slam, Brutal Death Metal, hints of prog metal and other influences makes for a heady brew of extreme music…. This eclectic approach never lets up for the whole of the album, with so many familiar yet alien sounds emerging, riffs that sound like they were written by a thrash band, or slow dirgey sections that come straight from doom metal’s playbook. Does this approach work? Incredibly, yes! The album stays fresh and interesting; there is always something you draw your attention to and keep you listening. Combine this with the band’s art and lyrical efforts and it makes for a crazy, heady mixture of the heavy and the ridiculous, but at least it’s never boring!” – The Razor’s Edge

“Because the band varies quite a lot within the framework and smuggles in unwholesome elements, ‘Fugue Gnawed from the Scabbed God Cerebrum’ remains captivating from start to finish. Every listen reveals new details, and the craftsmanship and tight compositions make this album a delightful cocktail of proggy avant-garde brutal tech death slam jazz. Or something like that. Surprising, unexpected, and constantly memorable: this is a top record of brutality.” – Musika

“Victims of brutal death metal will recognize the trauma inflicted by the song’s (Gutted and Corpsed) opening, a combination of furiously rattling snare-drums, sewer-gurgling riffage, and equally grotesque sewer-dwelling vocals, but even there the band also discharge shrill and weirdly squirming frequencies and shotgun blasts, as well as slamming hammer blows and bursts of viciously darting and insanely screaming fretwork. But the song shifts, opening a portal to an even more macabre cavalcade of screeching and bizarrely contorting tonalities (some of which are ejected from a contorting throat), accompanied by sudden and equally crazed percussive contortions and thudding bass-level throbs. Ghosts might be wailing and screaming, and there’s a guitar solo in the mix too, but it too has lost its mind. Near the end, when the drumming has become heavily medicated and slumbers, the music changes even more dramatically. Something like a flute enticingly whispers, and something like an oboe woozily wanders against a backdrop of gentling shimmering strings — a little caress to help you begin unscrambling your brain.” – No Clean Singing

“The speed of the drums, the ferocity of the vocals, the intensity of the guitars and how all of that blends together in the most diabolical way… Onchocerciasis Esophagogastroduodenoscopy are pushing boundaries here.. what they have created here is fascinating and admirable.. it is an unforgettable listen…” – Games Brrraaains and Head-Banging Life

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