Tag: stream

0 THE DIVINE PROJECT Announces NXNE 2026 (Toronto) and The Great Escape Festival (Brighton, UK) Performances + New Video “Ruins of Truth” From EP “Rebirth”

April 15, 2026
by Asher
· Music News · The Divine Project

NEWS RELEASE

Montreal, QC – April 15, 2026

THE DIVINE PROJECT Announces NXNE 2026 (Toronto) and The Great Escape Festival (Brighton, UK) Performances

+ New Video “Ruins of Truth” From EP “Rebirth”

TDP – Top L: Ro Stevens (vocals) | Top M: Mitch Greenham (Drums) | Top R: Eric Divine (Guitar)
Bottom L: Derek ‘DRock’ Boshkov (Bass) | Bottom R: David T.Anselmo (Guitar)
Photo by: Weydim Zaldivar (IG: @zquadrant)

Canadian metal powerhouse The Divine Project continues its explosive rise with two major announcements: the band has been officially added to the lineup for this year’s NXNE Festival in Toronto, ON and The Great Escape Festival (Brighton, UK) and along with releasing a brand‑new music video for “Ruins of Truth,” in support of their acclaimed EP “Rebirth,” released this past November.

Renowned for their explosive, high‑energy performances, often spilling off the stage and into the pit, The Divine Project is set to deliver one of the heaviest, most unforgettable sets at this year’s NXNE. Their official NXNE showcase on June 11th at The Bovine Sex Club (https://www.nxne.com/2026-artists/the-divine-project) comes alongside a second major festival appearance on May 15th at The Fiddler’s Elbow at The Alternative Escape stage at The Great Escape Festival (https://greatescapefestival.com/the-alternative-escape/) in Brighton, UK. Both performances are part of the Rock & Metal Alliance showcases, marking a significant milestone for the band as they continue their 2025 relaunch with a revamped lineup and a sharper, heavier, more defiant sound. Their addition to these festivals follows a surge of momentum, including a successful March run supporting Selias, plus recent shows alongside Eyes Set To Kill, Black Satellite, Awake At Last, Sumo Cyco, and Escape The Fate. The band’s rising profile has also been fueled by the breakout reception of their singles “The Revolt” and “Don’t Startle The Murder.”

With their EP “Rebirth,” The Divine Project set out to reintroduce themselves with force, and they delivered. The EP blends modern metal, nu‑groove, djent, and metalcore influences into a four‑track journey through resistance, collapse, psychological tension, and survival. Each song was crafted to hit with emotional and sonic weight while remaining fully performable live, no backing‑track crutches, just raw musicianship.

“We set the goals to reintroduce The Divine Project to the world as a faster, heavier, and more complex band. We made sure we came out swinging and wrote music intended to punch everyone in the face… Rebirth is our new beginning and our way of saying The Divine Project is here to stay,” adds the band.

The newly released video for “Ruins of Truth” showcases one of the EP’s darkest and most atmospheric tracks. Musically, the song leans into heavy groove and emotional gravity; lyrically, it confronts false leaders, ideological collapse, and the erosion of humanity through division. The video amplifies these themes with stark imagery and a performance that captures the band’s signature intensity.

“A society in moral, psychological, and ideological collapse… manipulated to surrender our humanity through division slowly,” comments the band.

Watch and listen to the video for “Ruins of Truth” at https://www.youtube.com/watch?v=LuZZLCW-8O0

Formed originally as a solo project by guitarist Eric Divine, The Divine Project has evolved into a staple of the Ontario heavy music scene. The current lineup, frontman Ro Stevens, guitarist David T. Anselmo, bassist Derek “DRock” Boshkov, drummer Mitch Greenham, and founder Eric Divine, brings together a wide spectrum of influences, technical skill, and live ferocity. The band will be entering the studio this April to record the follow‑up to “Rebirth”. While still unmistakably TDP, the next EP will explore darker, more emotionally lonesome territory.

Recommended for fans of Trivium, Linkin Park, Killswitch Engage, Static-X, and All That Remains, “Rebirth,” released November 28, 2025, is available at the following links:

Add to your Spotify playlist – https://open.spotify.com/album/1ROxx7e7BhrPDtZizNhsNk

Bandcamp – https://thedivineproject.bandcamp.com/album/rebirth

Music Video – The Revolt – https://www.youtube.com/watch?v=suxgZ3EqZtE

Music Video – Don’t Startle The Murder – https://www.youtube.com/watch?v=kQ3fpbeu_f8

Track Listing:
1. The Revolt (3:46)
2. Ruins Of Truth (3:27)
3. Don’t Startle The Murder (4:18)
4. The Longest Night (5:53)
EP Length: 17:24

EP and Live Band Line Up:
Ro Stevens – Vocals
Eric Divine – Founder/Guitar
David T. Anselmo – Guitar
Derek ‘DRock’ Boshkov – Bass
Mitch Greenham – Drums

More info:

https://www.tdp-official.com/

https://www.facebook.com/thedivineproject/

https://www.instagram.com/TheDivineProject

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“… I’m simply left wanting more. Not from the track itself, but from an EP whose tracks each bring their own texturally layered elements, all melded together in an extraordinary Extended Play recording.” – Jay Broderick, LoudTO, 2025

“You know a band is special when they have a truly unique sound. Those were my thoughts when I gave this EP a listen.” – “Metal” Mike, @black_kross_zine, 2026)

“With a mix of styles and a strong DIY approach, The Divine Project are a band to keep an eye on as they continue to grow beyond the Toronto scene.” – Dayna Szymanski – This Day In Metal

“The Divine Project may not look traditionally Metal but boy can they break it down! ” – Blast Toronto

“You ever watch a band and realize halfway through that there’s no safety net? No laptop running stems, no hidden tracks filling the gaps, just five people in a room making every sound you’re hearing with their actual hands? That’s The Divine Project. Ontario. “Rebirth” EP.” – Papy Jeff Metal

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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 Meshuggah’s Live Impact Sparked WITHOUT MERCY’s New Track “Glass” From Upcoming EP “Infinite Loss” Out May 2026

April 14, 2026
by Asher
· Music News · Without Mercy

NEWS RELEASE

Montreal, QC – April 14, 2026

Meshuggah’s Live Impact Sparked WITHOUT MERCY’s New Track “Glass” From Upcoming EP “Infinite Loss” Out May 2026

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

Photo Credit: Shimon Photo – www.shimonphoto.com

Canadian extreme groove metalers Without Mercy have released “Glass,” the second single and visualizer from their upcoming EP Infinite Loss, arriving May 8,th, 2026. “Glass” follows the EP’s first single and music video, “The Saint,” which marked a bold creative departure for the band and signaled a new era of intentional, high‑pressure songwriting.

“Glass” began with a single riff written after guitarist DJ Temple witnessed Meshuggah live, a moment that set the tone for the entire track.

“Glass hits hard because it was written with clarity, conviction, and momentum from the first note. That riff carried a physical weight that immediately set the tone and became the spine of the entire song. Everything else was built to serve it,” says Temple.

Musically, the track leans into interconnected riffs inspired by Meshuggah and Alluvial, filtered through Without Mercy’s own voice. The groove is physical and controlled, tightening inward as the song progresses before opening into a massive, final release. Lyrically, “Glass” explores themes of eyes, mirrors, souls, and translation, a reflection on perception and the distortion that occurs between what is seen and what is understood.

Listen to “Glass” via its premiere on Bravewords HERE.

“Infinite Loss” is Without Mercy‘s long-awaited return since releasing their breakout 2020 album “Seismic.” Created under the most immersive conditions the band has ever embraced. For the first time, Without Mercy left home to make a record, relocating across borders and living inside the process for ten days with no escape from the work. The result is a three‑song EP built not around singles, but around statements, each track chosen only after surviving intense scrutiny, revision, and honest confrontation.

Lyrically, the EP centers on the feeling of being hunted by modern pressures: economic strain, identity, time, and survival. There is no single antagonist. The threat shifts, but never disappears. Musically, the record mirrors that tension through weight, repetition, and restraint. Riffs sit long enough to suffocate. Rhythms feel deliberate and physical. The aggression is controlled rather than chaotic.

“There was no comfort, no distance, and no way to step away. This EP forced us to be present with each other and with the music in a way we had never experienced before. This record exists because we chose to be uncomfortable, to argue honestly, and to stay in the room until it felt right,” adds Temple.

The EP’s artwork was created in collaboration with longtime friend Diego Gedoz de Souza, who helped refine the visual direction after early concepts fell short. The final image, a desolate forest with a massive void carved into the earth, reflects the EP’s emotional core: inevitability, loss, and the pull toward something inescapable.

Formed in 2007, Without Mercy blends 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.

Recommended for fans of Meshuggah, Alluvial, Decapitated, Fit For An Autopsy, and Gojira.

Due out on May 8th, 2026, 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 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 Streaming Now! Quebec Deathcore Force DISCOVERY THROUGH TORMENT’s EP “Telesynthetic Rebirth”

December 4, 2025
by Asher
· Discovery Through Torment · Music News

NEWS RELEASE

Montreal, QC – December 4, 2025

Streaming Now! Quebec Deathcore Force DISCOVERY THROUGH TORMENT’s EP “Telesynthetic Rebirth”

+ New Video “Arcane Inception”

Saint-Jean-sur-Richelieu, QC, Canada deathcore force Discovery Through Torment is set to unleash their new EP, “Telesynthetic Rebirth,” with an exclusive advance stream premiering on Decibel Magazine a full day ahead of its official release on December 5th. Fans can experience the band’s most ambitious and brutal work yet before it drops worldwide.

Listen to the EP’s full stream premiere on Decibel Magazine HERE.

Formed out of a desire to push heaviness to its limits, Discovery Through Torment has carved a reputation in the Quebec underground for its uncompromising blend of slam, brutal death metal, and blackened atmospheres. Since their debut, “Divine in Blood” (2020), and the acclaimed follow-up, “The Mangled God” (2022), the band has evolved into a sharpened five-piece lineup, now fronted by vocalist Alex Desroches. With “Telesynthetic Rebirth,” they deliver a bold new chapter defined by narrative-driven lyrics, cinematic scope, and relentless aggression.

“On this EP, we took the time to experiment a lot and find the right balance between sounding fresh and staying true to our sound. It’s very dark and heavy, with sci-fi atmospheres and plenty of surprises. We are very proud of this one, it hits HARD,” adds the band.

The EP plays out like a video game-inspired descent into collapse and conquest, pulling listeners through five chapters of divine downfall, human abduction, and engineered genocide. Musically, it balances towering, cinematic compositions with suffocating heaviness, fusing slam brutality and blackened deathcore atmospheres into a relentless narrative arc. It begins with “Dethronement,” a grand opener announcing the fall of the Mangled God with epic scale, before plunging into “Arcane Inception,” where crushing riffs expose the apocalyptic intentions of a new force rising from the ashes. The tone grows colder and more clinical in “Veil Unfurling,” transforming captives into telepathic servants through a chilling blend of atmosphere and brutality. The intensity reaches its peak in “Lesions,” a punishingly direct assault that warns of inevitable demise with twisted vocal lines and relentless weight. Finally, “First Encounter Assault Regiment” closes the record with a genocidal march, its towering chorus and cliffhanger ending leaving the storyline suspended in anticipation of the destructive chapter still to come.

The EP’s artwork mirrors this ominous narrative, drenched in red hues and desolate landscapes that hint at alien origins and looming menace. Adding to its depth are several fun details: hidden nods to the first F.E.A.R. game woven into track titles and lyrics, the clinical edge of “Veil Unfurling” born from a binge of House M.D., and synth layers crafted in DIY fashion by guitarist Sam experimenting at home.

For fans of Aversions Crown, Rings of Saturn, and Mental Cruelty, “Telesynthetic Rebirth” drops December 5th, 2025, on all major platforms.

“Telesynthetic Rebirth” arrives December 5, 2025 is available for EP pre-order at https://discoverythroughtorment.bandcamp.com/

Add to your Spotify playlist – https://open.spotify.com/artist/3cttRrJzJ5CxdMlaJPkNtq?si=WK9PdT1SQ-yZOes9PP50IA

Music Video – “Arcane Inception” – https://youtu.be/XLjCTuAoXew

Track Listing:
1. Dethronement – (4:36)
2. Arcane Inception – (3:40)
3. Veil Unferling – (4:29)
4. Lesions – (3:35)
5. First Encounter Assault Regiment – (4:19)
Album Length – (20:39)

Album Recording Credits:
• All songs performed by: Discovery Through Torment
• All songs written by: Discovery Through Torment
• Produced by: Discovery Through Torment
• Mixed by: Maxime Lacroix of House of Gain Studio
• Mastered by: Maxime Lacroix of House of Gain Studio
• Album Artwork by: Mark Erskine of Erskine Designs
• Canadian Content (MAPL)

Album Band Line Up:
Charles-Étienne Lafrance – Drums
Samuel Fortin – Guitar
Frédéric Ricard – Guitar
Alexandre Desroche – Vocals
Alexis Lafrance – Bass

Live Band Line Up:
Charles-Étienne Lafrance – Drum
Samuel Fortin – Guitar
Frédéric Ricard – Guitar
Alexandre Desroche – Vocals

More info: Facebook.com/DiscoveryThroughTorment | Instagram.com/discovery.through.torment

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“It certainly won’t take long for Discovery Through Torment to attack again with the next chapter in their already solid career, and I can’t wait to see what’s next for such an up-and-coming Deathcore ensemble after the striking and incendiary Telesynthetic Rebirth. Best moments of the album: Arcane Inception and Lesions. Worst moments of the album: None.” – The Headbanging Moose

“Discovery Through Torment ont ouvert la soirée avec leur interprétation de pièce Slam/Deathcore. On a été servie avec des Breakdowns crasseux et des grooves de cavernes. Musiciens talentueux et un chanteur qui contrôle très bien les tonalités de haut à très gras. En fait, c’est bien Alex Desroches qui est aussi chanteur de Ignominy. Leur setlist est disponible sur Spotify

Discovery Through Torment opened the evening with their rendition of slam/deathcore tracks. We were treated to grimy breakdowns and cavern grooves. Talented musicians and a singer who masters the tones from high to very fat. In fact, it’s Alex Desroches who is also the singer of Ignominy. Their setlist is available on Spotify” – Ondes Chocs (Kaboom Fest @ Foufounes Électriques, Mtl – September 29 and 30, 2023)

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0 PYTHONIC Unleash Ferocious Single “Liturgy” Ahead of SLAUGHTERFEST 2025 + New EP “Decomposition” Out Dec 2025

December 4, 2025
by Asher
· Music News · Pythonic

NEWS RELEASE

Montreal, QC – December 4, 2025

PYTHONIC Unleash Ferocious Single “Liturgy” Ahead of SLAUGHTERFEST 2025 in Edmonton

+ New EP “Decomposition” Out Dec 19th, 2025

Pythonic – Back Row – L to R: Max Hiske (Bass) | Morgan Warriner (Lead Vocals) | Vincent Kohut (Rhythm Guitar & Backing Vocals)

Front Row – L to R: Jayden Warriner (Drums) | Ryan Hunter (Lead Guitar )

Photo Credit – Carsen Warriner

Saskatoon, Canada’s death thrash force Pythonic has announced the release of their second single, “Liturgy”, following the success of their first single, “Guiltfeeder”. Both tracks pave the way for the band’s highly anticipated sophomore EP “Decomposition,” set to drop on December 19, 2025.

Formed by guitarist Vincent Kohut, Pythonic was born out of a desire to break free from subgenre constraints and deliver metal in its purest, most aggressive form. Alongside lead guitarist Ryan Hunter, bassist Max Hiske, drummer Jayden, and new vocalist Morgan Warriner, the band has forged a sound described as aggressive, groovy, raw, thick, and dirty.

“Liturgy came out so good on the recordings, we couldn’t help but spotlight this track. The riffs rip, the drums rip, the bass rips, what can we say, this song rips. It’s such a classic metal song, with lyrics about summoning a demon under a blood moon. Morgan’s guttural delivery took it to another level,” says the band.

Listen to “Liturgy” via its premiere on Bravewords HERE.

The band’s second EP, “Decomposition”, represents a heavier, more death-metal-oriented chapter for Pythonic. Tracks such as “Conceit”, “Pills”, and “Collateral” showcase themes of corruption, addiction, toxic relationships, and triumph, while “Liturgy” embodies the band’s darker, more extreme influences. The EP artwork, created by Danya Lawton, visually decays the band’s debut imagery to reflect the reimagined nature of the songs.

“When we brought in Morgan as our new singer, the songs came alive again. What once felt tired now feels powerful; his vocals gave them the chance they deserved. Max’s bass adds a soul-shaking thump, especially on Collateral, while Jayden’s heavier drumming drives the tracks with ferocity and double kicks. We also worked with Reid Paraszczynec of Lucid Distortion Audio, a longtime friend of Vincent and Ryan, whose mixing and mastering made the songs sound phenomenal. Reid’s sharp ear and easygoing nature helped usher in the next chapter of Pythonic the right way,” adds the band.

Fans can brace themselves for an all-out assault of crushing riffs, pounding bass, unrelenting drums, and guttural vocals, solidifying Pythonic as a powerhouse in Canada’s rising metal scene.

The band is set to storm Slaughterfest in Edmonton, AB, on December 6th, sharing the stage with Display of Decay, Brain Stem, Ages of Ashes, A Modern Prometheus, and Cell – info.

Recommended for fans of Lamb of God, Morbid Angel, Devildriver, and Black Dahlia Murder, “Decomposition” will be available on digital platforms on December 19, 2025.

EP pre-order – https://pythonic.bandcamp.com/album/decomposition

Track Listing:
1. Guiltfeeder (4:23)
2. Conceit (4:00)
3. Pills (3:09)
4. Liturgy (3:42)
5. Collateral (3:38)
EP Length: 18:54

EP Recording Credits:
All songs performed by Pythonic
All songs written by Pythonic with Alex Conley
Produced by Pythonic
Mixed by Reid Paraszczynec / Lucid Distortion Audio
Mastered by Reid Paraszczynec / Lucid Distortion Audio
EP Artwork by Danya Lawton

EP and Live Line-Up
Morgan Warriner – Lead Vocals
Ryan Hunter – Lead Guitar
Vincent Kohut – Rhythm Guitar and Backing Vocals
Max Hiske – Bass
Jayden Warriner – Drums

More info: https://www.facebook.com/pythonicband | https://instagram.com/pythonicband

About: Born in Saskatoon, SK, Pythonic is a death‑groove metal powerhouse that fuses the ferocity of Lamb of God, Black Dahlia Murder, and Cryptopsy with its own raw, uncompromising vision. Conceived by guitarist Vincent Kohut as a project free from subgenre boundaries, the band embraces the philosophy that “metal is metal.” Together with lead guitarist Ryan Hunter, Kohut carved out a sound that is aggressive, groovy, thick, and unapologetically dirty, a sonic identity that refuses to be confined. The addition of Morgan Warriner on vocals and Max Hiske on bass has solidified Pythonic’s most devastating lineup to date. Warriner’s guttural range, soaring highs, and earth‑shaking lows have been praised as transformative, while Hiske’s thunderous bass lines add depth and weight to every track. Anchored by Jayden’s relentless drumming, the band operates as a tightly locked unit, delivering a crushing live experience.

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““EP 1” is a testament to Pythonic‘s dedication to their craft and their refusal to be confined by sub-genre limitations. Each song is a blend of technical prowess and raw emotion, offering listeners a chance to experience the full spectrum of the band’s capabilities. It is recommended for fans of Machine Head, Trivium and Pantera.” – Metal-Rules (EP01 – 2024)

“Pythonic comes from Canada with ‘Epica’, a track that features fast-paced guitar riffs, heavy drums and an engaging, torn vocal that delivers to listeners the essence of metal and subverts such as alternative, thrash and even melodic, being perfect to the circle and not to leave anyone standing still.” – Os Garot Os Deliverpool (EP01 – 2024)

“Pythonic has an EP for you. Blending Thrash with Old School Swedish Death Metal, the band manages to sound like Entombed but without losing its unique style… So if you have a few minutes of anger to drain, these guys are going to cover you!” – Metal Eclipse Reviews (EP01 – 2024)

“Overall I’m a pretty big fan of this record. If you want something that sounds maybe like an Anthrax or a Slayer record then you really want to check this out. The most dynamic and unique part of this EP, in particular is the vocals are double-tracked and they’re very high in the mix which is something that is somewhat different than a lot of the other metal releases this year which I greatly appreciate. If you want something that has a lot of the thrash guitar element then you’re really going to want to check this out. The guitar and drum parts are fantastic, they really keep the songs very tight even though the vocals are very in your face and they’re usually the the first thing that you would notice with this kind of record but overall this is very strong.” – Brutally Delicious (EP01 – 2024)

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0 Streaming Now! Quebec Melodic Death OUTLYING Unleash Long-Awaited Album “Oblivisci”

November 20, 2025
by Asher
· Music News · Outlying

NEWS RELEASE

Montreal, QC – November 20, 2025

Streaming Now! Quebec Melodic Death OUTLYING Unleash Long-Awaited Album “Oblivisci”

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

Photo by Sandy Champagne

Trois-Rivières, Quebec, Canada, melodic death metal band Outlying will release their long-awaited new album “Oblivisci” on November 21st. A visceral and uncompromising work, the record blends aggression, melody, and raw emotion into a cohesive listening experience that fans will find impossible to ignore.

Formed in 2003 by high school friends jamming covers, Outlying has evolved through lineup changes and years of musical exploration into a band committed to creating music that is both powerful and accessible. Frontman Fred Dubeau, the band’s primary songwriter, sought to move beyond “music for musicians” and instead craft songs that resonate viscerally with listeners. The result is a sound described in five words: captivating, dark, aggressive, melodic metal.

The album’s title, “Oblivisci”, Latin for “to forget”, reflects themes of withdrawal, alienation, and the struggle to escape trauma. Across eleven tracks, the band explores grief, loneliness, disenfranchisement, and addiction, culminating in a three-part epic that chronicles frontman Dubeau’s personal battle with alcohol and drug dependency. Now sober, Dubeau channels those experiences into music that is both cathartic and brutally honest.

“It is a great pleasure for us after all this time and a very difficult process to introduce the world to our newest effort, Oblivisci. We are glad to be musicians who are somehow different from most other bands in our environment, and strive to make music that is expressive, dark, heavy, and brings the listener through many different kinds of atmospheres and vibes. We try to avoid trends and gimmicks, and create something that comes from our diverse musical influences, different backgrounds and lives, and many other forms of art such as movies, books, or video games. While staying true to what Outlying always was, we always try to step up our game and improve our sound and musical connection with our audience. Despite being more often than not called a melodic death metal band, the band absorbs influences from thrash, black, prog, and also 70s, 80s, and 90s rock. In a world of thousands of forgettable songs, we hope to find our way into the hearts of many metal enthusiasts locally and around the world,” says the band.

Musically, “Oblivisci” strikes a balance between relentless, heavy riffing and soaring melodic passages, enriched by clean vocal textures and dynamic arrangements. With Outlying, the band steers clear of unnecessary complexity, instead crafting songs that prioritize emotion and impact. While echoes of their influences, At The Gates, Testament, Cradle of Filth, In Flames, and Wintersun, are present, Outlying’s sound stands apart as distinct and refined, heavier yet more melodic than ever before.

The record begins with The Raven Is Gone, a blistering and epic opener that channels the urgency of escaping chaos in search of refuge. Stigma follows, rooted in old‑school melodic death metal, confronting themes of societal judgment and subcultural rejection. The atmosphere turns chilling with Snow, a haunting narrative of abuse elevated by female vocals and an expansive, epic structure. The descent continues in Pitch Black Serum, a dark and unsettling track that delves into defeatism and indulgence in fleeting pleasures. Sentinel then emerges as a poignant power ballad, weaving clean vocals with an aggressive bridge to capture grief and memory. Closing the album, the three‑part suite Dreamless Nights I–III delivers a sweeping chronicle of addiction, false escape, and painful aftermath, culminating in a climactic, melodic finale that leaves a powerful and lasting impression.

The album artwork depicts a post-apocalyptic version of the band’s home city, visually reinforcing the themes of decay, alienation, and survival that permeate the record. It mirrors the music’s balance of heaviness and melody, offering listeners a complete aesthetic experience.

With “Oblivisci,” Outlying has crafted a “no skipped tracks” album; every song matters, every riff and lyric carries weight. The band hopes to continue releasing music consistently, exploring new directions while staying true to their core sound.

Listen to the album in full via its stream premiere on Bravewords HERE.

Available on all digital platforms on November 21st, 2025.

Bandcamp – https://outlying.bandcamp.com

Spotify – https://open.spotify.com/artist/5q6oycizRFEpwSzpUBJ0Z8

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

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

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

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

For more info:

http://www.outlying.ca/

http://www.facebook.com/outlyingband

http://www.instagram.com/outlyingband/

https://www.tiktok.com/@outlying.band

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“Outlying pull together ingredients of thrash, melodic death metal, and black metal to create music that’s blood-rushing and muscle-flexing, and the panoply of changing riffs is very damned infectious too.” – No Clean Singing

“In the shadow of Quebec’s steel-forged skies, Outlying emerges once again with The Raven Is Gone — a melodic death metal masterstroke that’s equal parts chaos and catharsis… The Raven Is Gone is not just a song — it’s a statement. A declaration that melodic death metal is alive, vital, and pulsing through Canada’s veins. Outlying have evolved into something rare: a band that remembers what heavy music was meant to do — confront, release, and transcend.” – See Rock Live Magazine

“Melodic death metal band Outlying released their new single Pitch-Black Serum on November 16th. The song’s biting energy and unrelenting fervor hits with an uncommon ferocity while being dynamic…” – Din Intunerec

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

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

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

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

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0 Montreal’s DEADWOOD Unleashes “Tales of Massacre”, A Brutal Glimpse Into Upcoming EP “Rituals of a Dying Light” (Innerstrength Records)

October 29, 2025
by Asher
· Deadwood · Music News

NEWS RELEASE

Montreal, QC – October 29, 2025

Montreal’s DEADWOOD Unleashes “Tales of Massacre”

A Brutal Glimpse Into Upcoming EP “Rituals of a Dying Light” (Innerstrength Records)

L-R – Fred Element (Guitar), Charles Etienne Lafrance (Drums), Stephane Filion (Guitar), Derek Heynekamp (Vocals)

Photo Credit – Fred Element

Canadian deathcore juggernaut Deadwood has dropped their latest single, “Tales of Massacre”, a blistering and terrifying track inspired by the Salem witch trials. The song is the second single from their upcoming concept EP, “Rituals of a Dying Light,” set to release on January 9, 2026, via Innerstrength Records.

Formed in 2020 with the mission to “Make Deathcore Angry Again,” Deadwood has carved a reputation for delivering music that’s angry, aggressive, dark, heavy, and intense. Their latest offering is no exception; “Tales of Massacre” blends brutal technicality with eerie atmosphere, pushing the boundaries of modern deathcore while staying true to the genre’s roots.

Deadwood’s forthcoming EP, “Rituals of a Dying Light,” plunges listeners into a concept-driven nightmare, where each track draws from real-life horrors and urban legends. From tales of demonic possession to infamous historical crimes, the band channels the macabre through punishing riffs and eerie lyricism. The EP features chilling narratives like “Heretic,” a brooding account of a nun overtaken by darkness, layered with piercing solos that cut through the gloom. “Thirst for Blood” delivers a vampiric frenzy, blending punk-tinged rhythms with a dangerously infectious chorus. “Whisper of Death” slows the tempo for a sinister dive into the psyche of Jack the Ripper, while “Echoes of the Fallen” closes the record with a haunting instrumental drenched in lead guitar and ominous atmosphere. Marking a new chapter in Deadwood’s evolution, the EP introduces solos and melodic leads for the first time—adding depth without sacrificing the band’s trademark aggression.

“We wanted this release to be scarier, heavier, and more extreme,” says founding member Fred Element

Deadwood’s lineup includes veterans of the Quebec metal scene, Fred Element (ex-Plasma Riffle, ex-Ion Dissonance), Stephane Filion (ex-Nova Spei), and Charles-Etienne Lafrance (Discovery Through Torment, ex-Dismayed).

Their writing process is collaborative, with each member adding their own flavor to Fred’s initial compositions. Lyrics are crafted to match the music’s atmosphere, drawing inspiration from horror, real-life tragedies, and the darker aspects of existence.

Deadwood’s live performances are known for their chaotic, horror-infused energy. Their stage presence is designed to evoke terror — not just a band playing music, but a visual and sonic assault.

“We don’t do small talk or funny vibes. We want to scare you. We want you to feel uneasy,” the band explains.

Having toured Japan and the U.S., including a standout performance at Inkarceration Festival, Deadwood is now preparing to conquer Europe in 2026. Their relentless drive and commitment to intensity have earned them spots alongside acts like Humanity’s Last Breath, Born of Osiris, and Traitors.

With “Tales of Massacre” setting the tone, Deadwood promises more music is already on the way.

“We chose five tracks that share the same dark atmosphere. But we’re not done yet, fans can expect a lot from us, sooner than you think,” adds the band.

For fans of Meshuggah, Whitechapel, Despised Icon, All Shall Perish, and Behemoth, Deadwood is a must-listen. Their sound is a terrifying blend of death metal and hardcore, crafted for those who crave pure brutality.

“Rituals of a Dying Light” drops January 9, 2026, via Innerstrength Records.

Listen now: “Tales of Massacre” on YouTube – https://youtu.be/kqpk5XQXrSQ

Add to your Spotify playlist – https://hypeddit.com/deadwood/talesofmassacre-1

More info: https://linktr.ee/Deadwood.band | https://innerstrengthrecords.com/

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“If you ever wondered what Al Swearengen might listen to if he was living in modern times, here’s your answer, c*********. Montreal’s Deadwood have been around town for a decade now, and pride themselves on evolving into a more savage animal with each release. In December, 2022, they released Inhuman, an EP that is hell bent on making deathcore brutal again.” – Metal Sucks: Deathcore in the North – 10 Canadian Deathcore Bands

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0 BROCARDE Unveils “Feed My Soul” ft. KORN’s Ray Luzier – A Haunting Dive into Theatrical Horror Metal

October 1, 2025
by Asher
· Brocarde · Music News

NEWS RELEASE

Montreal, QC – October 1, 2025

BROCARDE Unveils “Feed My Soul” ft. KORN’s Ray Luzier – A Haunting Dive into Theatrical Horror Metal

Known for her haunting vocals, theatrical visuals, and ghostly whispers, Brocarde returns with her next sonic séance, blurring the line between the living and the dead. A gothic siren of symphonic metal and supernatural storytelling, her most visceral offering yet, “Feed My Soul,” is a thunderous single featuring the legendary Ray Luzier of KORN on drums.

“I love Brocarde’s very unique vocal style and vibe. She has mass aggression to sweetness and everything in between in her voice! The very interesting song arrangements and theatrical segments make the whole package a dynamic, fun adventure to listen to. I see great things ahead for her!” says Ray Luzier.

The track was recorded remotely across three cities: Brocarde in London, Luzier in Nashville, and producer Chris Collier (Korn, Mick Mars, Whitesnake) in Las Vegas. Though the trio never met during the recording process, fate intervened at Wacken Open Air, where Brocarde bumped into Luzier in the canteen.

“Watching Ray perform with Korn side stage was a powerful reminder of what I’m fighting for. That’s the level I want to reach,” adds Brocarde.

The “Feed My Soul” music video was shot in a haunted hunting lodge deep within Germany’s Black Forest, ominously known as The Demon Hotel. The setting mirrors Brocarde’s signature theatrical horror aesthetic, equal parts Phantom of the Opera and Edgar Allan Poe nightmare. From hushed whispers to guttural screams, she commands every moment with chilling precision, layering her vocals like a spectral choir and saturating each frame with raw emotion. The walls, adorned with taxidermy heads frozen in terror, serve as eerie spectators to the song’s themes of toxic entanglement and psychological warfare. Ray Luzier’s thunderous drumming injects a primal pulse, anchoring Brocarde’s ethereal delivery in a maelstrom of cinematic intensity.

“Feed My Soul is more than a song; it’s a spiritual experience. I wrote it alone in the dark, channeling voices from beyond and emotions I couldn’t explain. It’s about craving connection in a world that feels increasingly disconnected. I want listeners to question everything they see as normal,” adds Brocarde.

The single offers a glimpse into Brocarde’s long-awaited debut album, set for release in 2026, a decade in the making. While details remain under wraps, fans can expect a musical journey that’s as emotionally raw as it is visually spellbinding.

Brocarde’s rise has been anything but ordinary. From marrying (and exorcising) a Victorian ghost named Edwardo, to conducting paranormal investigations at Download Festival and Wacken Open Air, she’s carved a niche as rock’s most fearless medium. Her column “Terrifying Travels” in The Daily Star chronicles her encounters with the dead, while her website Brocarde.com documents her haunted adventures around the globe.

With “Feed My Soul,” Brocarde invites fans to step into her world, a place where music, magic, and madness collide.

Music Video –

https://www.youtube.com/watch?v=Nn74iRfivMo

Add to your Spotify Playlist – https://open.spotify.com/track/5fhv0p8TA2moaZztoFoFPE

More info:

https://brocarde.com/

http://instagram.com/brocarde/

https://www.facebook.com/brocarde/

http://youtube.com/@thebrocardeshow

https://x.com/thebrocardeshow

– 30 –

“Electrifying, creative new artist…powerful stuff!” – David Coverdale (Whitesnake)

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0 Streaming Now! IVY GARDENS Live Off The Floor Sludge Rock Album “Death of Don Valley” + Canadian Tour Dates (ON/NS/PEI/NB/QC/MB/SK/AB/BC)

August 28, 2025
by Asher
· Ivy Gardens · Music News

NEWS RELEASE

Montreal, QC – August 28, 2025

Streaming Now! IVY GARDENS Live Off The Floor Sludge Rock Album “Death of Don Valley”

New Album “Death of Don Valley” Out August 29th, 2025 via Paper Cut Recordings

Cross Canada Tour Dates (ON/NS/PEI/NB/QC/MB/SK/AB/BC)

L-R – Andrew Blackborow (Guitar, Vocals), Joe Zandwyk (Drums, Vocals), Sebastian Hogg (Keyboards)

Photo Credit by Luka Kartveli

Niagara Falls, Canada’s Ivy Gardens is unveiling their lush-sounding, raw and live off the floor sludge rock storytelling album “Death of Don Valley” as they prepare to hit the road across Canada in support of its release on August 29th, 2025 via Paper Cut Recordings.

Before it officially drops, the trio has teamed up with Bravewords for its full stream premiere, which can be heard HERE.

The band comments on their sophomore album:

“Death of Don Valley is the record we had inside us, but couldn’t quite articulate for several years. Musically, it’s a huge leap in a more experimental direction. It’s about death, decay, and the ultimate destruction of the world around you. Everybody knows of some sort of small natural space that gets slowly encroached upon until only a shell remains. The pond beside the highway, the wetlands behind the factory. The Don Valley in Toronto is one such natural feature, slowly tainted by industrialization until it can’t support any of the life that it used to. After touring for several years, we grew a lot as musicians, and only after really honing all of this material live for about a year, we felt we were ready to get it tracked and send it into the world. We recorded everything live off the floor, and Frank, our engineer, had heard nothing beforehand and had no idea what we actually sounded like going into it. Eventually, he asked us, ‘How do you determine what becomes a 2-minute song, and what becomes a 9-minute song?’ Pure instinct, Frank. Here it is.”

Formed in the unlikely crucible of a Princess Auto parking lot, Ivy Gardens began with a simple desire to shred through Rush instrumentals and explore the outer reaches of heavy music. Now, following their acclaimed first full-length “Goon” released in 2024, the band takes a daring leap into more dour, experimental terrain. “Death of Don Valley” presents a concept album steeped in decay, lyrically and sonically portraying the slow death of natural spaces like Toronto’s Don River, drowned by industry and time.

Ivy Gardens’ influences are vast, ranging from progressive icons like Rush, Yes, and King Crimson to sludge pioneers like EYEHATEGOD and Iron Monkey. Their sound blends elements of stoner metal, sludge, math rock, and progressive rock, creating an unpredictable listening experience that takes the listener through a series of emotional and sonic landscapes.

Fans can expect a live experience unlike any other as Ivy Gardens is hitting the road for a cross-Canada tour in kicking off on August 29th in St. Catharines, ON, and will wrap up in Victoria, BC on October 25th (dates listed below).

“Death of Don Valley” (out August 29th) is available for pre-order at https://ivygardens.bandcamp.com/

Spotify – https://open.spotify.com/artist/1TBuI2vFSltCNhiHdHnz01

Music Video – Burden – https://youtu.be/r4o-YPv-RcY

Music Video – Eye Witness – https://youtu.be/_RiZ8i7udjs

Ivy Gardens – Live or Die Tour:
Aug 29 – St. Catharines, ON – Warehouse Concert Hall
Aug 30 – Toronto, ON – Monarch Tavern
Sept 5 – Kitchener, ON – The Golden Apple
Sept 12 – Windsor, ON – Phog Lounge
Sept 13 – Sarnia, ON – AJs Bar
Sept 14 – London, ON – Grogettes Living Room
Sept 18 – Halifax, NS – Radstorm
Sept 19 – Sydney, NS – Daniels Ale House
Sept 20 – Charlottetown, PEI – Babas Lounge
Sept 21 – Moncton, NB – Generator Show
Sept 25 – Woodstock, NB – Montieth Manor
Sept 26 – Montreal, QC – Turbo Haus
Sept 27 – Quebec City, QC – Sonum
Oct 9 – Barrie, ON – CW Coops
Oct 10 – Sudbury, ON – Townhouse Tavern
Oct 11 – Thunder Bay, ON – Black Pirates Pub
Oct 12 – Winnipeg, MB – Bulldog Event Center
Oct 16 – Regina, SK – The Cure Kitchen and Bar
Oct 17 – Saskatoon, SK – The Black Cat
Oct 18 – Calgary, AB – Palomino
Oct 19 – Edmonton, AB – Blak Bar
Oct 23 – Kelowna, BC – Dunnenzies
Oct 24 – Vancouver, BC – Black Alley
Oct 25 – Victoria, BC – Fernwood Community Center

Track Listing:
1. Burn For Murder – 2:02
2. Eye Witness – 2:50
3. Burden – 3:08
4. Guiding Hand – 6:18
5. Frozen Limbs – 5:15
6. Gearth – 2:29
7. Astray – 4:56
8. Bliss – 8:59
9. Golden – 7:07
Album Length: 43:08

Album Credits:
All songs written and performed by Ivy Gardens
Produced by Ivy Gardens
Recorded and mixed by Frank Ditillio
Mastered by Cameron Lee
Album Artwork by Ivy Gardens
Death of Don Valley is Canadian Content (MAPL)

Recording and Live Lineup:
Joe Zandwyk: Drums, Vocals, Samples
Sebastian Hogg: Organ, Piano, Synth, Samples
Andrew Blackborow: Guitar, Vocals

More info: Facebook.com/ivygardensband | Instagram.com/ivygardensofficial

-30-

“Death Of Don Valley is a wonderfully eccentric, off-beat and demented slice of Sludge/Stoner Metal that demands your full and undivided attention.” – Outlaws of The Sun

“First of all, can we just give a lot of overdue appreciation to the fact that there are still hard-gigging bands out there that play with the kind of urgency as IVY GARDENS. You can damn AI music straight to fiery pits of hell; this is where the real sound and fury is at. Another thing I appreciate about Ivy Gardens is all the dark humor. You see it in their new music video, with its Red Fangish tongue-in-cheek adventure. This one features a vintage style videotaped car chase, which would play well off a viewing of V/H/S/94. …Fake blood ahead… We’re arrested right away by the powerful strumming of the guitar as “Eye Witness” opens. Drumming is crazy, a frenetic attack of Animal from The Muppets, chasing that beat all over the place… Of course, the classic organ-sound of the keyboards adds a certain kind of spookiness to it all, which can be at once cheeky, mysterious, and cool. I myself love this send-back to ‘60s rock, while respecting that Ivy Gardens brings us a sound that clearly feels “now.”” – Doom and Stoned

“With the premiere of the video for “Burden” below, Niagara Falls progressive sludge trio Ivy Gardens announce their second full-length, Death of Don Valley, will be out Aug. 29 through Paper Cut Recordings. The follow-up to the sans-bass three-piece’s well-received 2024 debut, Goon, is introduced with the lead single “Burden,” which you can find the band playing live in the video premiering below. This ethic would seem to be the crux of Death of Don Valley itself, hence “live off the floor sophomore album” in the headline below. “Burden” benefits from the lack of trickery behind it, from the visually-evidenced capacity on the part of guitarist/vocalist Andrew Blackborow, key-specialist/synthesist Sebastian Hogg and drummer/vocalist Joe Zandwyk, the latter two of whom are also responsible for samples on the record, and while one can hear a bit of Melvinsian do-rock-and-make-it-weird ethos underlying, “Burden” brings charge to coincide with its telltale rhythmic intricacy — not quite doing ‘math’ in the musical sense, but not far off. They say the album’s more complex than the last one, and even if it was tracked entirely live with no overdubs, “Burden” bears that out.” – The Obelisk

“Throughout the album Joe Zandwyk’s drums almost dance like swirls of sand through the desert. Sebastian Hogg’s keyboard adds a great layer on top of Andrew Blackborow’s guitar playing. While no one particular instrument claims the spotlight, the instruments all have the freedom to claim their own space in the gritty depth that is Ivy Gardens and Death of Don Valley.” – The Metal Pit

“Ivy Gardens bringing ‘sludge-soaked, high-decibel’ rock to Barrie” – Barrie Today

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