Tag: premiere

0 SIEGE PERILOUS Ignite Cosmic Warfare in New Lyric Video “Eschaton” From New Story Album “Becoming The Dragon” ft. guests Fabio Lione (Rhapsody, Angra), Kristin Starkey (Twilight Force, Temperance)

June 25, 2026
by Asher
· Music News · Siege Perilous

NEWS RELEASE

Montreal, QC – June 25, 2026

SIEGE PERILOUS Ignite Cosmic Warfare in New Lyric Video “Eschaton” From New Story Album “Becoming The Dragon”

Album Guests Fabio Lione (Rhapsody, Angra) and Kristin Starkey (Twilight Force, Temperance)

Colorado fantasy metal Siege Perilous have released the official lyric video for “Eschaton”, the colossal final chapter track of their debut full‑length story album “Becoming the Dragon,” released this past March 2026 via Crunchtronic Records.

“Eschaton” stands as one of the band’s most ambitious compositions to date, a multi‑movement epic inspired by Blind Guardian’s “And Then There Was Silence,” Avantasia’s “The Scarecrow,” and Iron Maiden’s “Fear of the Dark.” The track follows the album’s protagonist as he battles the cosmic forces of destiny, shattering the universe to rebuild it free from fate. Musically, the song weaves soaring melodies, shifting tempos, thunderous riffs, and cinematic orchestration into a seamless narrative arc.

The lyric video brings this sweeping story to life, highlighting the emotional and mythic weight of the album’s finale while giving fans a deeper look into the world Siege Perilous has crafted.

Vocalist Shaughnessy McDaniel describes “Eschaton” as the culmination of everything the band set out to achieve with “Becoming the Dragon”:

“This song is an epic with a lot of pieces that flow seamlessly between each other, telling the story of the end of one cosmos and the dawn of a better one.”

As the final chapter of the album’s ten‑part saga, “Eschaton” captures the emotional and narrative climax of the Child of Prophecy’s journey, one that spans destiny, denial, tragedy, transformation, and ultimately cosmic rebirth.

Watch the video via its premiere on V13.net HERE.

A sweeping concept album years in the making, “Becoming the Dragon” is the band’s most ambitious project yet. The record features guest performances from Fabio Lione (Rhapsody, Angra) and Kristin Starkey (Twilight Force, Temperance), both of whom were major inspirations for the band long before Siege Perilous existed.

The album’s story follows a hero bound by prophecy who must confront destiny, reject it, and ultimately embrace it to overcome it. Each track represents a major story beat, crafted collaboratively by all members of the band.

“Creating a massive, sweeping power‑metal epic has been a dream since before we even formed this band. This album represents our collective experience, skill, hopes, and dreams as musicians,” says McDaniel.

Formed in 2021 after a life‑changing Unleash the Archers concert in Denver, Siege Perilous was born from the shared storytelling roots of live‑action roleplay, cooperative world‑building, and a deep love of power metal. Founders Shaughnessy McDaniel (vocals), Scott Hancock (guitar), and Mark Girard (drums) soon recruited longtime collaborator Eric Fischer (bass) and, in 2024, welcomed guitarist Ryan Flanagan, completing the lineup.

Their music blends classic heavy‑metal influences from Manowar, Iron Maiden, Hammerfall, and Sabaton with the symphonic grandeur of Blind Guardian, Rhapsody, Helloween, and Avantasia. The result is a sound that is epic, melodic, powerful, cinematic, and story‑driven.

Every Siege Perilous track is a chapter in a larger saga, drawing from myth, history, and fantasy: the Black Plague, the Rubicon, dragon‑slaying quests, and the emotional journeys of heroes shaped by destiny.

The band’s writing process is deeply collaborative. Each member contributed to the story and composition of Becoming the Dragon, shaping different narrative beats before uniting them into a cohesive whole.

“We arranged, re‑drafted, and tackled each song as a team until we had something that really clicked. By the end, every track belonged to a unified Siege Perilous sound,” adds McDaniel.

On stage, Siege Perilous delivers more than a performance; they create an immersive world. Their shows blend high‑energy musicianship with theatrical storytelling, inviting audiences into the realms they sing about.

“Becoming the Dragon” (released March 27th) is available via Crunchtronic Records on all digital platforms, along with physical CD and Vinyl, plus merch at the following links:

CD + Vinyl (Limited Edition 12″ Vinyl in Draconic Red) – https://siegemetal.bandcamp.com/album/becoming-the-dragon

Add to your Spotify playlist – https://open.spotify.com/album/2ij7lZIEXDFMn4I65Slc87

Track Listing:
1. Overture (Instrumental) – (2:37)
2. Ancient Rite – (4:37)
3. As the Dragon Falls (feat. Fabio Lione) – (4:33)
4. Child of Prophecy – (4:05)
5. Shattered Mirage – (4:07)
6. Chieftain – (4:03)
7. Cut Down – (3:01)
8. Echoes of Home (feat. Kristin Starkey) – (4:48)
9. Becoming the Dragon – (5:09)
10. Eschaton – (7:50)
Album Length: 44:54

More info: http://www.siegemetal.com/

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Siege Perilous Unleashes a Dragon-Slaying Debut – Westword Denver

“The LARP-loving five-piece’s first LP is its most immersive work to date, introducing a protagonist who is destined to slay an oppressive cosmic dragon. Spoiler: He defeats the nemesis by the third track, “As The Dragon Falls,” featuring former Rhapsody of Fire frontman Fabio Lione. But it’s what follows that makes Becoming the Dragon such a mind-bending metal journey for the child of prophecy. Siege Perilous brought in operatic singer Kristin Starkey (Temperance and Twilight Force) for somber ballad “Echoes of Home.” Vocalist Shaughnessy McDaniel, bassist Eric Fischer, drummer Mark Girard, and guitarists Scott Hancock and Ryan Flanagan rally the hordes on “Chieftain” and “Eschaton,” but Becoming the Dragon is best experienced in one shot.” – Westword Denver – The Best New Music Releases of March 2026

“Siege Perilous, a group with a ton of talent and potential, have the chops to be major players in the epic metal field. They need to get out of Colorado and head over to Europe!” 10/10 – Powerplay Magazine

“Denver, CO power-metal storytellers Siege Perilous launch their full-length Becoming the Dragon, which stands as a genre-defining concept album for the modern era.” – New Noise Magazine

“The debut album from this Colorado band is another fine example of just taking what makes power metal and epic heavy metal work and putting your own spin to it all.. with the excellent production and two awesome guest spots from Fabio Leone and Kristen Starky to give this just a little more cred and you having an album that is for anyone who enjoys the likes of Blind Guardian, Rapsidity, Krilloan, and Evermore. Excellent. Excellent music.” – Heavy Debriefings

“Becoming the Dragon is an excellent album in its own right, and it shows an up-and-coming band making great strides towards becoming a force to be reckoned with… a strong debut in its own right, and one I can easily recommend for fans of epic heavy metal and fantasy-themed power metal.” – My Global Mind Magazine

“With „Becoming The Dragon“ Siege Perilous follow in the big footsteps of bands like Avantasia, Iron Maiden and Blind Guardian. And the musicians do this extremely well. Great epic, sometimes bombastic sound, strong vocal direction and very good musicians make this debut extremely worth listening to.” – Keep On Rocking Mag

“This is epic Power Metal again, with driving drums and fast guitar solos.” – Metalheads Forever Mag

“The debut album from the epic, Colorado-based power metallers is a true journey from start to finish…. The band are insanely good songwriters, and for this to be a debut album makes it feel like we have some truly special things to come in the next few years! They’re ones to watch, for sure! However, for now, this is an excellent release for anyone into the genre even a little bit!” – Overtone Magazine

“For a debut, ‘Becoming The Dragon’ is a bold and confident statement… undeniably compelling, and a promising sign of greater things to come.” – Metal Rager 666

“Siege Perilous puts all the notes in the right places and has the chops to be a player in the epic power metal arena… and Becoming the Dragon offers a glimpse of this band’s potential.” – The Metal Crypt

“orchestral power metal with a fine story” – FFM-Rock

“With ‘Becoming The Dragon’, Siege Perilous proves that they are ready for the bigger stage. For fans of Wind Rose, Hammerfall, Sabaton, Blind Guardian, and Iron Maiden, this is a must. This is power metal with heart, brains, and a sword in hand.” – Musika

“Becoming The Dragon is an ambitious work that combines epic heavy metal with orchestral elements. Siege Perilous show talent in songwriting and variety of arrangements… The mix of powerful vocals, triple guitar riffing and orchestral interjections makes the album interesting for fans of epic metal,” – MetalUnderground.at

““It’s certainly not a lack of ambition, this is a band that clearly sees itself as the natural successors to the true greats of fantasy-based power metal… Guest Fabio Lione… absolutely lays waste to all around him in the role of ‘The Dragon’ on As The Dragon Falls…. They deserve the highest praise for their commitment to the cause if nothing else.” – Sentinel Daily

“The 10 tracks keep you on the edge of your seat and even feature a collaboration with Fabio Lione, who deserves to be praised in every way… An album to enjoy!” – Nada Hay Bajo El Sol

““‘As the Dragon Falls’ is elevated to a completely different level…. The catchy melodies and gripping guitar work are among the highlights of the record…. With the melancholic dark ballad ‘Echoes of Home,’ the band proves their knack for atmospheric arrangements with depth… Kristin Starkey contributes female vocals that give the track a beautifully atmospheric dimension… The gripping, catchy anthem ‘Chieftan’ is another noteworthy and praiseworthy exception.” – Obliveon

“All the songs are catchy, well constructed and technically flawless” – Tempiduri

“Musically, this is a total love letter to the European masters. You can hear the DNA of Blind Guardian and Iron Maiden all over the place, especially in the way the guitars layer up. Having three guitarists isn’t just for show; they use that extra firepower to build some seriously big harmonies that actually stick in your brain… “Becoming The Dragon” is a damn strong start for a band that clearly lives and breathes this genre. They aren’t hiding their influences; they’re wearing them like a suit of armor and heading straight for the front lines.” – Heavy Metal Darkness

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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.

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0 Canada’s NOX Unleashes Debut Single “Night Terror,” a Cinematic Descent into Goth‑Metal Darkness

April 15, 2026
by Asher
· Music News · NOX

NEWS RELEASE

Montreal, QC – April 15, 2026

Canada’s NOX Unleashes Debut Single “Night Terror,” a Cinematic Descent into Goth‑Metal Darkness

A dark, cinematic introduction to the new solo project from Ottawa creator Joe Moon (A Scar For The Wicked, Daedfall, ex-Sovereign Council)

Recognized for his guitar work and production roles in Ottawa bands A Scar For The Wicked, DAEDFALL, and previously Sovereign Council, solo goth‑metal artist NOX emerges as the newest creative vessel for cinematographer and visual storyteller Joe Moon. To introduce the launch of this fully self‑realized project, one that fuses heavy music, horror‑driven aesthetics, and immersive worldbuilding into a singular, shadow‑forged identity, Moon unveils NOX‘s debut single and music video for “Night Terror.”

NOX embodies Moon’s long‑standing drive to create something darker, more personal, and more cinematic than anything in his past body of work. After years spent shaping visuals, music, and production across multiple mediums, the project stands as the culmination of that experience, a space where sound, imagery, and storytelling merge without restraint. Moon writes every element himself, from synths and drums to guitars, crafting each track around mood, tension, and emotional gravity. Sonically, NOX pulls from modern metal, melodic death metal, industrial metal, symphonic black metal, and gothic/alternative metal, while weaving in the scale and emotional depth of cinematic scoring.

“NOX is a dark, creative force rooted in heavy music, cinematic tension, and immersive atmosphere. Influenced by metal, horror, sci‑fi, and shadow‑driven visual storytelling, the project exists to create music that feels larger than sound alone, a world built on power, fear, transformation, and emotional weight. The goal is to give people something immersive, something oppressive, emotional, haunting, and atmospheric. Every song should feel like a chapter in a larger story,” says Moon.

“Night Terror” serves as the first entry point into that world. The track is dark, intense, and deeply atmospheric, built around the sensation of being hunted by something both psychological and real. Moon describes it as a reflection of fear, paralysis, and the loss of control, emotions that shape the song’s heavy, immersive sound.

“‘Night Terror’ leans into fear and tension, turning those emotions into something cinematic and overwhelming. It’s meant to feel like stepping into a nightmare you can’t wake up from,” adds Moon.

As a cinematographer and visual creator, Moon approaches NOX with a filmmaker’s eye. The music video for “Night Terror” introduces the project’s aesthetic, a blend of horror, sci‑fi, surrealism, and metal imagery designed to feel like a window into a larger universe. The result is a sound that is dark, cinematic, immersive, and vicious.

Recommended for fans of Sleep Token, Lord of the Lost, Lacuna Coil, Dimmu Borgir, and modern Swedish melodic death metal, NOX delivers the same sense of weight and atmosphere, but pushes further into something more visual, more narrative‑driven, and unmistakably its own.

Watch and listen to the music video for “Night Terror” via its premiere on Bravewords HERE.

Add to your Spotify playlist – https://open.spotify.com/track/6qvs53MRsDJYkf6KgmzXu1

More Info:

https://www.facebook.com/profile.php?id=61576513716832

https://www.instagram.com/the.only.nox/

About:

NOX is the dark creative project of Joe Moon, a cinematographer, visual creator, and storyteller driven by heavy atmosphere, bold imagery, and genre-blending worldbuilding. Working across film, music, design, and concept development, Joe builds immersive visuals and identities that live somewhere between horror, sci-fi, metal, and the surreal. NOX is an extension of that vision: a space for darker ideas, original characters, striking aesthetics, and unapologetically cinematic expression. Through NOX, Joe brings together his work in visual storytelling, production, and creative direction to create something visceral, mysterious, and unmistakably his own.

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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

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“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

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“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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0 ASHEN HORDE Announces New Album “The Harvest” Out May 2026; Unveil Music Video “Entropy and Ecstasy”

March 17, 2026
by Asher
· ASHEN HORDE · Music News

NEWS RELEASE

Montreal, QC – March 17, 2026

ASHEN HORDE Announces New Album “The Harvest” Out May 2026; Unveil Music Video “Entropy and Ecstasy”

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

Los Angeles extreme‑metal shapeshifters Ashen Horde return on May 1st, 2026, with “The Harvest”, their fifth full‑length album and the first to feature new vocalist Karl Chamberlain (Putrefier, Alcyone, Necrotic Remains). Known for weaving black metal, death metal, prog, and 90s‑inspired grit into something unmistakably their own, Ashen Horde push their sound further than ever, embracing melody, chaos, and sharp contrasts across eight thematically linked tracks.

Alongside the album announcement, Ashen Horde have unveiled the first single, “Entropy and Ecstasy”, a whirlwind of jagged riffs, angular Voivod‑like progressions, and Chamberlain’s soaring, chilling vocal hooks. The accompanying video represents a major milestone for the band: despite recording the entire album remotely, this is the first time the members have appeared together on camera.

The first preview to the album, “Entropy and Ecstasy,” captures the album’s core idea: finding exhilaration in collapse. The song follows a couple who thrive on the chaos of a world falling apart, a concept Portz admits was likely sparked by the early COVID lockdowns.

Guitarist and primary songwriter Trevor Portz recalls being floored by Chamberlain’s audition:

“I sent him a demo of ‘Entropy and Ecstasy’ with unfinished lyrics, and he sent back his take. His vocals on the line ‘how can we thrive if we expect to survive?’ still give me chills.”

Listen and watch the music video for “The Harvest” via its premiere on NoCleanSinging HERE.

Add to your Spotify playlist – pre-save – https://show.co/z0ZVdF9

“The Harvest” marks a turning point for Ashen Horde. After a decade as a studio‑driven project, the band is preparing to play its first‑ever live shows in May, coinciding with the album’s release. It’s also the first full‑length to feature Chamberlain, whose dynamic range helped reshape the band’s sonic identity.

While Ashen Horde’s previous four albums were tightly constructed concept records, “The Harvest” takes a different approach. Each track stands alone, yet all orbit the idea of endings, personal, societal, historical, and cosmic.

“I didn’t have a single story this time, but the lyrics kept circling reactions to things ending. From societal collapse to ancient rituals to the last days of Pompeii, everything tied together naturally,” explains Portz.

Musically, the album is a showcase of the band’s eclectic influences. From the opening track, “Autumnal”, a slow-burning ascent into full black‑metal fury, inspired by the Sensorio light installation in Paso Robles. “Backward Momentum” blends Opeth‑style clean‑vocal layering with 90s‑rock riffing and one of Portz’s favorite solos on the album. “Voids in the Ash” pairs grunge‑inflected vocal harmonies with hyperspeed black‑metal bursts, telling the story of Pompeii from both mortal and divine perspectives. “The Apparition” channels early death metal before spiraling into odd‑meter prog weirdness. The title track, “The Harvest,” closes the album with an apocalyptic vision inspired by Iceland’s stark landscapes and the album’s striking cover art.

The album’s cover, featuring two red skeletons locked in an eerie, autumnal tableau, was created by artist Venus Kohana, whose work Portz discovered at an art show. The imagery’s blend of beauty, decay, and ritual perfectly mirrors the album’s themes.

“I bought a print and couldn’t stop staring at it. Eventually, I realized it had to be the cover. It even inspired the lyrics to the title track.”

For over a decade, Ashen Horde has carved out a unique place in extreme metal, refusing to be confined to any single subgenre. Rooted in black and death metal but unafraid to explore melodic prog, 90s alternative, and avant‑garde experimentation, the band appeals to fans of Opeth, Enslaved, Amorphis, Ihsahn, and metal’s more adventurous corners.

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).

“The Harvest” represents the band’s most dynamic, collaborative, and ambitious work to date.

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

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

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“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 DEVOLVER’s New Music Video “Wraiths” Captures The Camaraderie of Fans Under The Alberta Sky; New Album “Non Compos Mentis” Produced by Mark Lewis (Whitechapel, Trivium, DevilDriver, Black Dahlia Murder)

November 13, 2025
by Asher
· Devolver · Music News

NEWS RELEASE

Montreal, QC – November 13, 2025

DEVOLVER’s New Music Video “Wraiths” Captures The Camaraderie of Fans Under The Alberta Sky

Produced by Mark Lewis (Whitechapel, Trivium, DevilDriver, Black Dahlia Murder)

L-R: Jayde Penner (guitar), Bevin Booth (drums), Jaylen Elias (bass), Devin Babcock (guitar), Chris Brown (vocals)

Photo Credit – Heidi Robertson

Grande Prairie, Canada’s own metal force, Devolver, has dropped a powerful new music video for “Wraiths,” a standout track from their latest album “Non Compos Mentis.” Filmed during an intimate album release show at Grain Bin Brewing, the video captures the raw energy and camaraderie of a night that brought 150 fans together under the Alberta sky, immortalizing a night of celebration, community, and crushing riffs.

“We knew we wanted to do something special. So we had our friend Mike Evans film the show. This music video is for all the people who were there celebrating with us, making it such a special night,” adds the band.

“Wraiths” is a groove-driven, straight-ahead metal track with thrash undertones and a nod to classic rock and metal. Lyrically, it explores themes of mysticism as a bridge to connect with lost loved ones, an emotional depth that complements its sonic punch.

Watch the video for “Wraiths” via its premiere on Decibel Magazine HERE.

Formed in 2015 by guitarist Devin Babcock and drummer/producer Bevin Booth, Devolver has grown from a side project into a full-fledged metal powerhouse. With the addition of Jayde Penner (guitar), Chris Brown (vocals), and Jaylen Elias (bass), the band’s sound has matured into a collaborative blend of Gothenburg-style melodic death metal and early 2000s metalcore.

Their new album, produced by metal heavyweight Mark Lewis (Trivium, Whitechapel, The Black Dahlia Murder), marks a seismic shift in their sound.

“This is what the five of us sound like collaborating as a unit. Mark helped us push this thing over the edge,” adds the band.

The album’s artwork, created by legendary artist Travis Smith (Opeth, Megadeth), is a chilling visual interpretation of the true story behind the title track. It depicts Devin Babcock’s ancestor, Amos Babcock, who in 1805 committed a gruesome murder in Shediac, New Brunswick, during a religious frenzy. The haunting image of Amos in the snow, surrounded by the eyes of his nine children, adds a historical and emotional weight to the album’s narrative.

Devolver’s connection to their hometown runs deep. They partnered with Grain Bin Brewing to create “Brews of the Maw,” a blackberry and blood orange pale ale named after their track “Jewels of the Maw.” And for fans of Magic: The Gathering, the band has hidden lyrical nods throughout the album, including a track titled “Deathtouch.”

Recommended for fans of In Flames, Dark Tranquillity, Killswitch Engage, and As I Lay Dying, “Non Compos Mentis” is a bold leap forward, each track a chapter in a larger emotional and sonic narrative.

“Non Compos Mentis” (released Aug 22nd) is available at the following links:

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

Spotify for Playlist Add – https://open.spotify.com/album/3eeLxBrxx55QvIm3EnahLm

Music Video – Merciless Storm – https://youtu.be/o_6jcqK2qFQ

Lyric Video – Suffocating Syndrome – https://youtu.be/mmRskxYe1q4

Track Listing:
1. Deathtouch – 3:55
2. New Blood – 3:14
3. Jewels of the Maw – 3:30
4. Wraiths – 3:20
5. At Any Cost – 3:40
6. Non Compos Mentis – 3:53
7. Merciless Storm – 3:56
8. Suffocating Syndrome – 3:36
9. Dehumanize – 3:47
Album Length: 32:55

Album Credits:
– All songs performed by: Devolver
– All songs written by: Devolver
– Produced, Mixed, Mastered by: Mark Lewis
– Album Artwork by: Travis Smith
– SOCAN members

Band Lineup:
Chris Brown – Vocals
Devin Babcock – Guitar (lead)
Jayde Penner – Guitar (rhythm)
Bevin Booth – Drums
Jaylen Elias – Bass

More info: https://linktr.ee/devolverab

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“The goal of Devolver through Non Compos Mentis has been to take the listener on a thoroughly pleasing journey from the first note to the final crushing moment. That’s been achieved, and so much more – as these Canadians understand how to compose songs and execute them in a highly convincing fashion that has this scribe grinning ear to ear – bringing the exciting sounds of the late 90s/early 2000s to a newer generation who desire more of this style. 9/10” – Dead Rhetoric

“For a group from a small northern city, every move has required deliberate effort—whether it was recruiting the right collaborators, waiting until circumstances lined up, or carrying material through years of delay. Non Compos Mentis is the document of that persistence: an album shaped by distance, disruption, and devotion to the sound that first made them want to pick up instruments.” – IDIOTEQ

“DEVOLVER is definitely ahead of the last releases of their great role models. On the one hand, because the Canadians work straight and without any frills, and on the other hand, because the melodies are all right without reducing the heaviness. When it comes to melodic death, there’s no way around this album this year. The only downside: 32 minutes is pretty short, even for such energy output!” – PowerMetal.de

“Mixed and mastered by Mark Lewis (Fallujah, Whitechapel, DevilDriver, Deicide, Havok, Entheos, etc.), this new Devolver album is armed to face the critics. Composed of nine well-crafted tracks (all between three and four minutes long) and effective, Non Compos Mentis is soaked to the brim with Swedish melodeath influences.” – Metallian Magazine (France)

“There is a sense of nostalgia listening to the guitarmonies throughout the album, calling back to the golden days of early 2000’s metalcore. Whether you’re a fan of death metal or metalcore, you’ll definitely find elements that you’ll appreciate on this album. Personally, my favourites are “Deathtouch” and “Suffocate Syndrome”” – False Chord

“Now we have Devolver with Non Compos Mentis. The sophomore album from this Canadian band is the perfect blend of melodeath and metalcore. Much like chocolate and peanut butter, this takes the best aspects of both genres, makes enough changes to feel authentic, and creates a sound that hits just as much in 2025 as it would have back in 2005. The production is brutal, but still audible and filled with layers. The songwriting shows off the capabilities of everyone in the band, but it doesn’t reveal all of its tricks. Overall, this is for anyone who enjoys everything from ’90s era In Flames to 2000 Soilwork to later 2000’s Lamb of God to the modern-day capabilities of what Melodeath and Metal Core are all about. This is a great trip back in time, but also a look forward to what can be done. This is excellent stuff.” – Heavy Debriefing

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0 MERFOLK (One Man Band From Patrick Loisel of AUGURY) Unleashes Video “Sundaland” – A Psychedelic Metal Odyssey Rooted in Myth, Madness, and Mastery

October 2, 2025
by Asher
· MERFOLK · Music News

NEWS RELEASE

Montreal, QC – October 2, 2025

MERFOLK (One Man Band From Patrick Loisel of AUGURY) Unleashes Video “Sundaland”

A Psychedelic Metal Odyssey Rooted in Myth, Madness, and Mastery

Solo artist builds puppets, plays every instrument, and dives into the abyss, literally!

The mysterious solo endeavor known as Merfolk resurfaces with “Sundaland,” a boundary-pushing album that fuses emotional intensity with mythic storytelling and sonic experimentation. Spearheaded by Patrick Loisel of AUGURY, a multi-instrumentalist, Native-descended artist, and former physics teacher, Merfolk is far more than a band. It’s a singular vision brought to life by one mind and many hands. Every step of the creative process, from composing and crafting instruments to engineering the sound and directing the visuals, is handled entirely by Loisel himself. No session players. No pre-recorded crutches. Just pure, unfiltered artistry.

Merfolk channels the spirit of Emperor, Mayhem, Hollenthon, Mercyful Fate, and a trove of obscure ’70s experimental sounds, forging a unique blend of post-black metal, classical instrumentation, and narrative-rich, sociological lyricism. The songwriting draws from ancient migratory myths and uncanny architectural echoes across the Pacific, all filtered through the artist’s wildly eclectic life, one that began with a childhood literature award and later included the care of over 300 tarantulas.

The newest offering, “Sundaland,” is named after a submerged continent in Southeast Asia and explores the mythic aftermath of a prehistoric flood. From the haunting warnings of floating entrail-ghosts (Krasue) to the desperate offerings to misunderstood sea monsters, the album weaves a narrative that’s as unsettling as it is cinematic.

Musically, “Sundaland” is a leap from Merfolk’s earlier work “Demersal,” trading whistling and early synths for miked classical instruments, violin, cello, double bass, and piano, played by the artist himself. The fretless bass was custom-built, and electronic drums were introduced for a cleaner yet still furious sound. The result? A sound described in five words: eclectic, psychedelic, spooky, unusual, furious.

The album’s flagship single, “Castaways,” is a melancholic, ambient piece born from emotional turmoil. Its music video is a surreal spectacle of psychedelic practical effects, reminiscent of Kubrick’s 2001: A Space Odyssey. Filmed in near-total darkness with handmade puppets and props, some collapsing mid-shoot, the video captures the eerie beauty of survivors scavenging sunken ruins and encountering a newly revealed civilization.

Watch the full visual experience in “Castaways”, where Merfolk’s DIY ethos and cinematic ambition collide via its premiere on NoCleanSinging HERE.

Unveiled on May 26th, 2025, “Sundaland” by Merfolk transcends the boundaries of a traditional album; it’s a plunge into a myth-soaked realm where metal meets mysticism. This sonic excavation unearths ancient lore and raw emotional terrain, offering a listening experience that’s as intense as it is unpredictable. For those drawn to the arcane and the avant-garde, Sundaland is a must. And for the fearless few ready to descend deeper, the abyss awaits.

“Sundaland” is available at https://artists.landr.com/990591564626

Track Listing:
1. The Plowing Sea – 3:04
2. Krasue Came Warning – 4:15
3. The Ghost Fleet – 6:59
4. Castaways – 6:05
5. Sundaland – 1:54
6. Time Warp – 2:49
7. MOUSEHUNT !!! – 4:22

Album Credits:
All words, vocal, music, arrangements, and performances by Patrick Loisel
Keyboards, violins, cellos, and contrabasses recorded in Laval-Ouest in 2023
Drums, guitars, bass, and vocals recorded in St-Henri (Montréal,) summer/fall 2024.
Mixed by Patrick Loisel in St-Henri, January and February 2025.
Mastered by Alain Londero in Laval, March 2025.
Booklet by Patrick Loisel & Jean-Rémi Marceau
Guitar: Merfolk 2018 ( Mini RR V in walnut with EMG pickup)
Bass: Merfolk 2023: Fretless 5 strings in purpleheart with Bond pickup.

More info: https://www.melogy.ca/merfolk | https://www.facebook.com/profile.php?id=61553443841461

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0 STERILIZING THE DECEASED Confronts Inner Demons w/ New Video “Recovery” From EP “Nothing” Out Now!

October 2, 2025
by Asher
· Music News · Sterilizing The Deceased

NEWS RELEASE

Montreal, QC – October 2, 2025

STERILIZING THE DECEASED Confronts Inner Demons w/ New Video “Recovery” From EP “Nothing” Out Now!

L- R – Alex Phillips – Bass, John Hruby – Lead Guitar, Angelo Vespucci – Vocalist, Matt Jarvis – Drums, Nikolas Adamczewski – Rhythm Guitar

Photo Credit – Paige Margulies

Melodic deathcore outfit Sterilizing The Deceased has dropped a gripping new music video for “Recovery,” the opening track from their emotionally charged EP “Nothing,” released August 1st. Known for their bone-crushing breakdowns and atmospheric aggression, the Cleveland-based band delivers a visual experience as raw and visceral as the music itself.

“Recovery” dives deep into themes of personal reflection, addiction, and the struggle to find light in overwhelming darkness. The video mirrors the EP’s overarching narrative, a fictional/non-fictional journey through drug addiction and suicidal ideation, inspired by frontman Angelo Vespucci’s own battles. With imagery that evokes resistance, pain, and redemption, the video amplifies the track’s emotional weight and lyrical intensity.

“This song is about wondering where things went wrong and why they had to change. It’s the beginning of a story that’s deeply personal to me, and I wanted the visuals to reflect that internal war,” says Vespucci.

The EP “Nothing” marks a turning point for Sterilizing The Deceased, showcasing a mature sound that blends melodic deathcore, progressive metalcore, and djent influences. Fans of Reflections, Chelsea Grin, and old-school Lorna Shore will find familiar sonic territory, but with a distinct emotional edge. From the chaotic descent of “Self Meditated” to the cathartic rebirth in “Awake,” the EP offers a full-circle listening experience that encourages introspection and connection.

Formed in 2014, Sterilizing The Deceased has carved out a reputation in the Midwest metal scene, sharing stages with heavyweights like Cannibal Corpse, Dying Fetus, and Slaughter to Prevail. With members also active in projects like xEIGHTY-SIXEDx, Lie In Wait, and Terra Vista, the band brings a wealth of experience and collaborative firepower to every release.

Experience the beginning of a journey through pain, purgatory, and ultimately, awakening with the music video premiere of “Recovery” via Decibel Magazine HERE.

Fans can expect more music in the coming year, with another EP or full-length already in the works.

Sterilizing The Deceased‘s latest EP “Nothing” can be heard on all digital platforms.

YouTube – https://www.youtube.com/playlist?list=PLhdBBwjEYqN77KmhXIbJkO9TIF5ZxNmpO

Spotify – https://open.spotify.com/album/4aTbT4KtSuLM2V2G1136Zt

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

Track Listing:
1. Recovery – 3:58
2. Self Meditated – 3:28
3. Nothing – 3:50
4. Unconscious – 2:15
5. Awake – 3:02
EP Length: 16:34

EP Credits:
• All songs performed by: Sterilizing The Deceased
• All songs written by: Sterilizing The Deceased
• Produced by: Sterilizing The Deceased
• Mixed by: Sammy Morales
• Mastered by: Sammy Morales
• EP Artwork by: Caelan Stokkermans

Line-up:
Angelo Vespucci – Vocals
John Hruby – Guitar
Nioklas Adamczewski – Guitar
Alex Phillips – Bass
Matt Jarvis – Drums

More info: Facebook.com/SterilizingTheDeceased | Instagram.com/sterilizingthedeceased

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“Sterilizing the Deceased know how to incorporate some vivid, resonating melodies into their deathcore structuring and it makes the listen more memorable for it.” – Dead Rhetoric

“Harrowing lyrical narratives are the stock in trade of Sterilizing The Deceased and “Awake” is no different, despite having a soaring guitar solo and leads that run throughout. The DJent fuelled groove of this one is neck snappingly good, a vision in blood and thunder that has been matched by the bands skull execution. If you need a new nightmare, this is it [8/10]” – Metal Noise

“This is some pretty solid Deathcore that’s straight up savage and brutal, it’s inspired by original Deathcore too and is comparable to Carnifex, Chelsea Grin and The Acadia Strain in points. If Deathcore is your thing, then I recommend in giving this one a spin.” – Drako’s Metal Reviews

“This album is powerful, passionate and uncompromisingly heavy. It is only five songs, a mere 16 minutes, and yet it hits with the force of runaway bus. In that brief amount of time Sterilizing the Deceased has managed to create a titan of an album. Ultimately in the end all I can do, is say this, I highly recommend “Nothing” by Sterilizing the Deceased and I suggest you get on your favorite streaming service and check it out right away.” – Rust Belt Rock Review

“Here’s a brand new single for the Deathcore fans out there. If you like bands like Chelsea Grin and I Declare War, chances are you may dig this. Sterilizing The Deceased is an up-and-coming band hailing from Cleveland, Ohio. They’re known for bringing the heavy and that’s exactly what they do with this new single. It’s called “Forgotten” and it certainly packs a punch with the weight of its breakdowns and the delivery of some melodic riffs. Check it out and show the dudes some support if you dig it.” – The Circle Pit (2015)

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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
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