TYSTNADEN have released their first single ‘Broken’ on digital platforms, accompanied with a beautiful video: “BROKEN”.
The single is taken from the album “THE BLACK SWAN” which will be released in September by Elevate Records. A delicious preview that anticipates what the quintet is about to present to us soon.
Stream and buy ‘Broken’ at https://li.sten.to/tystnadenbroken
When is the last time rock ‘n’ roll made you feel good? We’re talking heart-racing, headbanging, fist-pumping good? Sing-along, shout-it-out-loud, party-all-night good? If it’s been a minute, know that you’re not alone.
Also, know this: Gavin Evick has your back. The 22-year-old singer, songwriter and leader of the namesake GAVIN EVICK BAND may be a child of the 21st century, but on his newest single, “Young, Wild & Free,” available today, Evick conjures the riff-tastic, hook-laden sound of the 1980s, with an arena-ready anthem custom built to blast out of car stereos on a top-down afternoon joyride, or soundtrack the most out-of-control, come-what-may all-night rager. Spiked with sticky-sweet melodies, wailing guitar solos from lead guitarist Gavin Hades, call-to-arms choruses, rousing riffs and pounding rhythms From Steven Hudgins, Max Myer, and Logan Blake , “Young, Wild & Free,” implores you to, as Evick sings, “Forget about your problems, leave ’em all behind.”
It’s a sound and style that Evick calls “windows-down” music. “It’s kind of a combination of Eighties-style fun, rock ‘n’ roll music, plus a little take on modern country lyrics,” Evick says of the new single. “What’s great about all those Eighties anthems is that feel-good summer vibe. And I love what modern country is doing in the sense of having lyrics where you can just sing along and stomp your feet. I try to do that, while still keeping things heavy.”
In essence, this is anthem rock for a new generation – a sound that has been absent from the airwaves for too long. “Usually when people my age want to listen to this type of stuff, it’s all music that’s 40 years old,” Evick says. “And that’s the music I love, too – those bands and songs are my influences. But I want to make music for people my age. I’m trying to fill that void that I feel is missing from modern rock.”
That fresh spin has been noticed by industry professionals as well. Says SiriusXM DJ Tommy London, “Being the rock enthusiast that I am, I’m always seeking a new band to sink my teeth into – a band that will make me turn the volume to 11. Well, I found one, and they actually make me turn the volume to 12 – the Gavin Evick Band. Their infectious single, ‘Young, Wild & Free,’ proves that the spirit of rock ‘n’ roll is alive and strong with the younger generation. They wave the flag loud and proud. I salute them.”
Even while Evick is looking to the greats of the past for inspiration, his music and lyrics speak from the heart, and are culled from his own life and experiences. “My ethos is like that old saying – ‘Put some dirt on it,’ ” Evick says. “Like, if you’re hurt, walk it off, you know? That’s what I express in my music, too. Growing up, whenever I was sad, I never wanted to listen to sad music – I wanted to listen to music that would bring up my mood and make me want to have a good time. So I write songs that remind me of good times in my life. It’s all positive stuff.”
With that, get ready to roll down those windows and crank up “Young, Wild & Free.” As Evick sings, “You’ll know you had fun because you can’t see straight.” “It’s just good vibes,” he says. “That’s what I want to get across, and hopefully people listening can share in the same emotions I had while writing the song.”
At the end of the day, that connection – and that celebration of life through loud, heavy, raucous rock ‘n’ roll – is the goal. “I didn’t become a musician to get rich and famous,” Evick says. “I make the music I make because I want to get these emotions out, and bring people up the same way my favorite songs always did for me. A certain song can change someone’s whole day, you know?”
“Young Wild & Free” audio available now everywhere you stream or download music.
Discrepancies released their new single “Takers,” on June 14th. The single is already doing well on streaming platforms and radio. The band announced a handful of headlining dates this summer in support.
“This song is about stepping into your power, finding who you are outside of others’ expectations and desires. As we grow and change as people we find ourselves being pulled in many directions. Some directions are guided by positivity and self-improvement and others are motivated by the selfish and greedy. It’s our own responsibility to decipher which direction is right, which is wrong, and who’s here to uplift rather than take down,” says the band’s vocalist Antonio Metcalf.
Garrett Weakley, the band’s bass player adds, “We’re incredibly excited to do one of our first headlining tours to support our brand new single. We’ve been supporting tours for the last few years, and wanted to hit some markets we haven’t been able to make happen for some time. This will be the longest set we’ve toured with, and we’re playing many songs people have been requesting for years. We have some special treats in store, but I don’t want to give away everything. Hopefully, we’ll be seeing all of you there!”
“Takers” can be streamed/downloaded at: https://linktr.ee/discrepanciesband
Discrepancies Tour Dates:
6/23 – Lincoln, NE @ 1867 Bar
6/24 – Minneapolis, MN @ Turf Club
6/27 – Seattle, WA @ FunHouse
6/29 – Wallace, ID @ Silver Mountain Manor
7/1 – Salt Lake City, UT @ The Pearl on Main
7/3 – Kansas City, MO @ Westport Bowery
7/6 – St. Louis, MO @ Red Flag
7/13 – Johnsburg, IL @ Northern Illinois Metal Fest
Discrepancies is the Rap Rock band started by Antonio Metcalf (Vocals) and Garrett Weakley (Bass) in St. Louis, MO. Through discussions about the need for an authentic rap rock sound the two started the band along with Addison Bracher on guitar and vocals. Their first demo was Get Hype in January of 2014, which Antonio & Garrett dropped into thousands of food bags in the drive-thru window of their workplace. This guerilla tactic led to their first single gathering over 100,000 streams within the first 6 months, and allowed their early live shows to pack out the local small cap rooms.
In 2016, the band released The Awakening, which garnered label attention. The Awakening landed on Billboard charts peaking at #32 Alt New Artist and #108 Top New Artist. This record took the band on the road harder than the earlier DIY days, and had them openings for select shows of Mushroomhead, Sevendust, You Me at Six, P.O.D., Hed PE, Straight Line Stitch, Starset, & more. The second single from the record “Not Alone” had a strong Youtube release, and reached over 2 million views within the year. The album was re-released as a Deluxe Edition with 2 additional bonus tracks in 2018 via Invogue Records as well as a limited vinyl option. With the re-release the Discrepancies played the final Vans Warped Tour in 2018 & Rock USA in 2019 to promote the record.
Come 2020, the band dropped their second LP via Invogue Records titled The Rise. The Album’s first single “Control” went viral on social media, which attracted multiple reaction videos, influencer additions, and more leading the single to reaching over 4 million streams on Spotify alone. The song continues to resurface on social media and had a strong resurgence in 2023 on platforms like Youtube & TikTok. Discrepancies joined Nonpoint for their winter tour in January of 2022, and continued to tour throughout the year with artists such as Dropout Kings, A Killer’s Confession, Cultus Black, & more.
In 2023, Addison parted ways with the band and Discrepancies solidified their lineup with Brandon Bollinger replacing Addison. Discrepancies hit the road harder than ever in support of their new EP Product Of Entertainment. The band spent nearly 100 days on the road touring with Tech N9ne, Hollywood Undead, Wolves At The Gate, Catch Your Breath, Until I Wake, VRSTY, Outline In Color, ARCHERS, Versus Me, & many more. The first single “Hands Up” came out swinging with over 250k streams before the EP dropped and continues to be a huge staple live for the band. At the end of 2023, Discrepancies hit the studio to finish up more material, and start gearing up for 2024. Discrepancies calls themselves Real Rap Rock, and continues to evolve the sound they have coined as their own.
Discrepancies:
Antonio Metcalf (Vocals)
Garrett Weakley (Bass)
Brandon Bollinger (Guitar/vocals)
Marc Lyle (Drums)
For More Information Please Visit: Official Website – Facebook – Instagram – Twitter – Spotify – YouTube – http://www.fmmusicmanagement.com/
Mystification Zine presents an exclusive stream of“Shittier/Slimier”, the new effort from WHARFLURCH, released today June 21st. Stream it HERE.
Following 2021’s critically acclaimed “Psychedelic Realms ov Hell”, the Florida death-doom metal entity returns with “Shittier/Slimier”, a collection of previously unreleased demos that showcase the more experimental and psychedelic side of the project.
The album is released today, June 21st 2024 through Dawnbreed Records and Gurgling Gore.
The band commented:
“It was summer 2021. We were all done recording ‘Psychedelic Realms…’, just waiting for it to come out in September… We had finished recording/filming ‘Transmissions…’ months ago, and we had been in the practice shed jamming weekly with no shows in sight until September 3rd, our release date / first show. So we ended up recording the stuff we were working on in a little more primitive mobile studio setup, like we used for ‘Shitslime’. After that was recorded, it was pretty much forgotten about… Until sometime in mid-late 2022, the tracks were rediscovered, and in the wake ov the band’s physical dissolution, overdubbing guitars and synths and vocals began in earnest effort to shape something out ov this incredible harnessed chaos we happened to capture.
As more and more writing went into these ‘”demos’, the more the psychedelic production and expansive song structures began to coalesce into something more horrifyingly magical, showing an entirely different side to the FLURCH. This has been forged to be a document in time, a spell cast in the wind, and a psychedelic journey all at once. Voyaging into the depths ov exploratory heavy riffs and otherworldly atmospherics like a Death Metal jam band trying to summon a doomsday comet from beyond”.
Stream the first single “Death Toll Horror” at THIS LOCATION.
As dense as it is mysterious, dark, and utterly hostile at times, the underground realms of death-doom hold many secrets. Of all of those deep cuts that many revere as some of the best the underground as a whole has to offer, WHARFLURCH has already made quite the impact for those that have come across its path of destruction. This is death-doom that is not user friendly; an act that is feels meant to corrupt and taint rather than offer any semblance of escapism. Their run since starting up in 2019 offered up multiple EPs, splits, and a massive full-length that really set the stage for WHARFLURCH to make quite an offensive towards becoming an underground sensation. A hiatus threw everything into question, however, with the prospect of WHARFLURCH throwing in the towel certainly on the table. But, the power of the grime has persisted with WHARFLURCH regrouping to continue their magnificent assault upon the concept of sanity itself. Armed with a voracious demo that is but the prelude of what’s to come, WHARFLURCH poises itself yet again for absolute domination. This is a creation that is the epitome of what it means to be uncompromisingly carnivorous in your craft. Supremely heavy and more than willing to drag the tortures out to ensure that no survivors are left with the victims living in a perpetual state of maximum suffering. Not a shred of refinement or polishing to be had for the whole of these seven horrific tracks, WHARFLURCH hasn’t spared a shred of the human spirit for all that “Shittier/Slimier” summons from all-consuming maw of darkness within which WHARFLURCH clearly holds dominion over. This is underground mastery made manifest in some of its most powerful and twisted forms with the very concept of this being but the beginning for WHARFLURCH‘s renewed offensive enough to make one buckle at the knees. Whatever is to follow, however, none can deny that this offering is one that is not going to be easily forgotten with the rippling effect caused by its release enough to invoke primal instincts of fear and flight in all who come before its immense presence.
Tracklist:
1. Shit Rains Down
2. Enochian Curse
3. Death Toll Horror
4. Headless God
5. The Empty Spaces
6. Wormwood Palace
7. From Ixaxaar to Xibalba
https://wharflurch.bandcamp.com/
https://www.instagram.com/wharflurch/
The idea behind Replacire‘s new album was simple. Write some straight-ahead chuggers to feed the mosh pit the next time these tech-death brainiacs went on tour.
It wasn’t so easy. But despite countless Zoom calls, bouts with sleep paralysis and one near trip to the hospital, the Boston band sound stronger than ever on The Center That Cannot Hold.
The Center That Cannot Hold is released today, June 21 on Season of Mist. You can run through all 11 brain-busting tech-death workouts thanks to No Clean Singing, who are premiering the full album stream, at THIS LOCATION.
Tracklist
1. Bloody Tongued And Screaming (4:26)
2. The Center That Cannot Hold (3:05) [LISTEN]
3. Living Hell (2:58)
4. A Fine Manipulation (4:21) [LISTEN]
5. The Helix Unravels (3:02) [LISTEN]
6. Drag Yourself Along The Earth (3:39)
7. Inglorious Impunity (3:32)
8. The Ghost In The Mirror (3:57)
9. Hoard The Trauma Like Wealth (4:20)
10. Transfixed On The Work (3:28)
11. Uncontrolled And Unfulfilled (6:41)
Total runtime: 43:36
Take a closer look at their name and it’s clear why Replacire has become synonymous with Eric Alper. After all, Alper is their sole original member, having started the band all the way back in 2009 as a student at Berklee College of Music. When he’s not producing other people’s records at Ugly Duck Studios, Alper is sculpting his own physique as a competitive body builder. But during the sessions for The Center That Cannot Hold, he was feeling weighed down by the world.
“The pandemic was hard on us”, Alper says. “We were all set to hit the studio together in March of 2020. But after the pandemic shut everything down, I had to sell our tour van and give up our rehearsal space just to keep my head above water”.
The mounting stress would’ve left a lesser band bloody-tongued and screaming. “All hope lies crimson on the hill / sinking”, groans James Dorton on the album’s dissonant and demolishing opener. “Living Hell” was inspired by a nasty spell of sleep paralysis that Dorton suffered after witnessing a traumatic event. Meanwhile, Alper was battling his own bouts with anxiety and depression that were brought on by a nagging case of writer’s block. The opening frenzy of “The Helix Unravels” has been hammering through his skull since 2017.
“There were days when all I could do was lay on the couch and hum a half-finished riff”, he says.
But despite this perfect shit storm, Replacire banged their heads together and pulled through on The Center That Cannot Hold. Poh Hock twists and turns those unfinished sections on “The Helix Unravels” into a tight, three-minute burst that works all of tech-death’s core muscles: glitching fret bends, jazzy interludes and downpicked chugs that could break even the thickest of necks. The band’s rhythm section takes the reins on the title track. Joey Feretti starts off fully aslant with harsh syncopated drum thwacks, only for bassist Zak Baskin to dunk the song’s middle passage into a trippy breakdown.
Of course, Dorton is no slouch either. “James recorded vocals for the title track in one full take, with no stops, over and over, until we got it right”, says Alper, who was looking for his mighty vocalist to spit out the same uncontrolled vulnerability as Slipknot’s self-titled LP. Clearly, Dorton took that inspiration to heart. When the song suddenly cuts out with a muffled thump, you might think that’s his body hitting the floor instead of the mic.
“The next morning, he woke up shaking uncontrollably and his face was white as a sheet” Alper remembers. “He came back to life after we got some fluids into him, though for a moment, I was worried that he needed to go to the hospital”
Thankfully, Replacire are seasoned pros. Hock, Ferretti and Baskin are also Berklee graduates and Dorton was the vocalist for Black Crown Initiate before he filled in on tour for Ne Obliviscaris. “I am your lord god”, he roars on “A Fine Manipulation”, as if throwing the weight of the world off his shoulders, before the rest of the band launches into the album’s most muscular breakdown.
“We poured all of our blood, sweat and tears into The Center That Cannot Hold“, Alper says. “It took years off my life. There were plenty of days where I wanted to quit. But I’m glad we didn’t, because this is our best album. Everything from the overall production down to the lead guitar parts took a step up. The tone is more serious. The songs are still techy, but they’re also a lot heavier. I’m proud of us”.
More information on the band:
When Replacire started thinking about their third album, they gravitated around a simple idea. Write some caveman riffs to feed the mosh pit the next time they went out on tour. Of course, like any good technical death metal band that’s worth its weight in colored sands, these whiz kids deviated from their initial thought pattern. It wasn’t easy. Heck, they ended up crawling down a seven-year rabbit hole. But on The Center That Cannot Hold, the Boston band flex all their muscles
“This was a grueling process”, says guitarist Eric Alper. “But it was worth it in the end”.
On the surface, Replacire starts and ends with Alper. After all, the band is just his name spelled backward. Alper is a competitive bodybuilder with a mean and lean right rhythm hand, but don’t let those beefy credentials fool you. When it comes to the studio, his brain does all the heavy lifting. By day, Alper produces music for other artists, as well as TV and movies. He’s a proud alumnus of Berklee College of Music, which is where he formed Replacire with four classmates back in 2009.
Using the money that they savvily raised on Kickstarter, Replacire self-released their debut album by the end of 2012. A hybrid of thrash, prog and death metal, The Human Burden punched through the underground like a cyborg’s fist. “This is what would have happened if Chuck Schuldiner were still alive today and mixed up with the likes of Obscura and Opeth at the same time”, Metal Injection gushed. After tours with Hate Eternal and Beyond Creation and an unintentional private showcase for a certain label rep, Replacire signed with Season of Mist in 2016. The band wasted no time before making a quick first impression. While still head-spinning, their second album landed with the decisive force of a first-round knockout.
“This group has set the tone for modern, rhythmically-centered death metal”, proclaimed Loudwire, who named them one of the top 5 bands amongst the next generation of death metal. “It’s time to wake up and hop aboard Replacire’s train”.
Indeed, Replacire were chugging along with a full head of steam. But there’s a reason why their new album is called The Center That Cannot Hold. After all, this is extreme metal. Things were bound to go flying off the rails at some point. Before they could even step out on their next headlining tour, the band’s lineup completely turned over. While their momentum stalled, Alper went searching for replacements.
Luckily, he didn’t have to go any further than his old stomping grounds. Alper linked up with Zak Baskin, who had filled in on bass for parts of Do Not Deviate. Alper then reconnected with Kee Poh Hock, a guitar whiz who’d lived with Baskin when all three were students at Berklee. Even though he graduated a few classes after them, Joey Feretti was so advanced behind the drum kit that he became Alper’s roommate. With mighty vocalist James Dorton joining fresh off Black Crown Initiate’s breakout, the new-and-improved Replacire were all set to hit Alper’s Ugly Duck Studio come March of 2020.
No one needs to be reminded of what happened next. Replacire always grind in the studio, taking their sweet time to fine tune every technical detail down to the last seventh string. “It never ceases to amaze me the way other metal bands just churn stuff out”, Alper says. “It doesn’t come easy for us. So many hours go into so few seconds of music”. But when the pandemic shut the world down, writing slowed to a crawl amidst the endless slog of Zoom sessions. With live music shut down for the foreseeable future, suddenly, their well-laid plan for pumping out an album of crowd killers seemed more and more like a flimsy proposition. To stay afloat, Alper sold the band’s van and moved out of their rehearsal space.
“Everything that I had built to support the band was falling apart”, Alper says.
The mounting stress would’ve left a lesser band bloody-tongued and screaming. But despite being stuck inside this perfect shit storm, Replacire banged their heads together and pushed through. “Living Hell” was inspired by a nasty spell of sleep paralysis that Dorton suffered after witnessing a traumatic event. “In the wake of suicide”, he groans, shrouded by eerie pangs of distortion. Alper was battling his own bouts with anxiety and depression that were brought on by a rather severe case of writer’s block, but even when all he could stand to do was lay on the couch while humming through a half-finished riff, Poh Hock would pick up his Strandberg and zip past the finish line. “The Helix Unravels” could twist all of Mensa into a pretzel with its interlocked chugs and squealing fret bends.
The Center That Cannot Hold is crammed full of mind-bending tech-death workouts. Baskin’s unfettered groove serves as the perfect springboard for another transcendent Hock solo halfway through “Hoard the Trauma Like Wealth”, though his reverberated bass echoes like a sea of voices trapped at the bottom of a well on “The Ghost in the Mirror”. The title track unspools under Feretti’s syncopated snare hits and precision blasting, though Alper was the real drill sergeant. “I wanted the vocals to sound like they do on Slipknot’s self-titled album, where Corey is gasping for air”. Dorton took the inspiration to heart, running through full takes, with no stops, for hours on end. Heck, his vocal chords were so tattered and torn that he narrowly avoided a trip to the hospital.
“We poured all of our blood, sweat and tears into this album”, Alper says. “It took years off my life. There were plenty of times where I wanted to quit. But I’m glad we didn’t, because this is our best album. Everything from the overall production down to the lead guitar parts took a step up. The tone is more serious. The songs are still techy but they’re also a lot heavier. I’m proud of us”.
On The Center That Cannot Hold, Replacire stand stronger than ever.
Line-up
Eric Alper – Guitars
James Dorton – Vocals
Kee Poh Hock – Guitar
Zak Baskin – Bass
Joey Ferretti – Drums
Recording Studio
Ugly Duck Studios
Production Credits
Eric Alper – Producer & Sound Engineer
Jens Bogren – Mixing & Mastering Studio Engineer (Fascination Street Studios)
Biography
Will Yarbrough
Bandcamp: http://replacire.bandcamp.com/
Facebook: https://www.facebook.com/Replacire
Instagram: https://instagram.com/replacire
Soundcloud: http://soundcloud.com/replacire
Twitter: https://twitter.com/Replacire
YouTube: http://www.youtube.com/user/Replacire/videos
Apple Music: https://music.apple.com/us/artist/replacire/576863051
Deezer: https://deezer.page.link/6prhUUWzLoxLRVhK8
Spotify: https://open.spotify.com/artist/0t8nNth1Y9dRxGoiHHSSoa
Blackened speed metal entity WORMWITCH will unleash their eponymous fourth studio album on July 26, 2024 via Profound Lore Records! The Canadian necromancers are now unleashing the pummeling second single from the offering, “Draconick Sorcerous Canadian Witchknights,” along with a music video! The clip, which was created by George Allen & Eric Tremblay, can be found at THIS LOCATION.
Wormwitch comments, “Another favourite… this one is our grim ode to ‘Travelin’ Band.’ We shot the video with some good friends at Hipposonic Studios in Vancouver, formerly Vancouver Studios where Metallica, AC/DC and Mötley Crüe made classic records. Not that it matters because we filled the place with fog and darkness. Enjoy, friends.”
WORMWITCH sets out to combine a melodic blackened death assault with the ferocity and attitude of crust punk and classic rock and roll, jettisoning the burdens of ceremony and pomp that dominate the genre today.
The album can be pre-ordered in various formats HERE.
The cover artwork for Wormwitch’s eponymous record was created by Abomination Hammer.
Tracklisting:
01: Fugitive Serpent
02: Envenomed
03: The Helm And The Bow [WATCH]
04: Inner War
05: Godmaegen
06: Salamander
07: Wormsblood Necromancy
08: Bright And Poisonous
09: Draconick Sorcerous Canadian Witchknights [WATCH]
Like black wings from an obsidian sky, WORMWITCH descended from the darkness in 2015, somewhere upon the rain-soaked woodlands of coastal British Columbia. Animated from the bones of several local punk and metal bands, the new entity set out to combine a melodic blackened death assault with the ferocity and attitude of crust punk and classic rock and roll, jettisoning the burdens of ceremony and pomp that dominate the genre today.
WORMWITCH released their first demo, ‘The Long Defeat’ in 2015, and shortly after signed to Prosthetic Records, under whom they released ‘Strike Mortal Soil’ (2017), ‘Heaven that Dwells Within’ (2019), and ‘Wolf Hex’ (2021). During that time the band toured with the likes of The Black Dahlia Murder, Suffocation, Midnight, Necrot, Uada, Bewitcher, and many others, earning themselves a dedicated cult following and international critical praise. In 2022, WORMWITCH struck out to independently release a string of singles and embark upon several tours of North America. After a busy festival season, 2024 saw the release of a six-song split with Atlanta black-thrashers Sadistic Ritual.
Now, with blades meticulously honed and tempered under the light of a feral Canadian moon, WORMWITCH emerges once more to offer their fourth full length record. Simply self-titled, “Wormwitch” is a statement of a band coming into it’s own – a revelrous celebration of devilish speed, searing melody and diabolical intensity.
Wormwitch Lineup:
Robin Harris: Bass, Vocals
Colby Hink: Guitars
Israel Langlais: Drums
More info: Bandcamp – Instagram – Facebook – Apple Music – Spotify – YouTube – Official Website – Pre-orders
Click image to watch the video
Metal Shock Finland (World Assault ) 