Reactions to our latest signing have been enthusiastic as M-Theory Audio brings you the second single/video from Progressive Death Metal entity, FRACTAL UNIVERSE. Recognized for their boundary-pushing sound, technical mastery, and captivating live performances, FRACTAL UNIVERSE have carved a unique path in the modern metal scene and present you with their latest creation, “Causality’s Grip” now on all streaming/download platforms, as well as its corresponding music video (directed by guitar player Yohan Dully and TinyGigie).
“’Causality’s Grip’ offers a simple yet very likely solution to the Fermi Paradox: before the immensity of the universe, it is the laws of physics themselves that hinder us from ever getting in contact with another civilization,” explains drummer Clément Denys. “Indeed, no matter how far technology could expand, there are boundaries that cannot be transcended. The speed of light, in other words, the speed of causality, forever confines us to a minuscule part of the universe. This humbling truth should make us realize how fragile our existences are, and how our world is both futile in the grand scheme of things yet priceless to us.”
“Causality’s Grip” follows “The Seed of Singularity” https://youtu.be/xcAr-miYxmQ?si=s7QEG9QS5l5mGwXy both coming from FRACTAL UNIVERSE’s next opus, ‘The Great Filters,’ out April 4, 2025. It’s the group’s most ambitious, diverse and intricate album to date pushing the boundaries of the band’s unique saxophone-drenched take on progressive metal. FRACTAL UNIVERSE is celebrated for their ability to push the boundaries of metal, combining heavy riffs, melodic elements, and jazz influences.
‘The Great Filters’ will be released on limited-edition (500) red with black splatter vinyl, Digipak CD, digital and an exclusive to band/label red and cream marble vinyl limited to 200 copies and bundle options with album t-shirt. Pre-Order now at http://lnk.to/fractaluniverse
FRACTAL UNIVERSE are rounded out by singer/guitar/sax Vince Wilquin and bassist Valentin Pelletier. The new album was recorded at Boundless Production Studios and Fractal Headquarters and mixed/mastered by Flavien Morel (Benighted Soul, Catalyst).
Get ready to embark on a sonic journey like no other. Stay tuned for more updates, tour dates, and the highly anticipated new album.
FRACTAL UNIVERSE started life in 2015 in Nancy, France self-releasing an independent EP ‘Boundaries of Reality’ the same year. Signing to Italy’s Kolony Records, ‘Engram of Decline’ followed two years later with a concept record inspired by Friedrich Nietzsche’s philosophy. The group attracted the attention of Metal Blade Records, who released their second full-length ‘Rhizomes of Insanity’ in 2019, solidifying their reputation as a force in the progressive metal world. ‘Rhizomes…’ explores the fragmented nature of human consciousness, combining philosophical lyricism with technical precision merging heaviness with melody seamlessly. ‘The Impassable Horizon’ (2021) marked a leap forward in songwriting and production and delved into the themes of determinism and free will, drawing inspiration from existentialist thought. The album also features saxophone sections, further blending their progressive tendencies with jazz elements. Critics lauded the albums a masterpiece of progressive metal. which garnered critical acclaim for its innovative songwriting and high production quality. Their dynamic live performances, which has seen them tour with Obscura, Evergrey, Black Dahlia Murder, God Dethroned, Thulcandra, and more, further highlights their technical expertise and passion for their craft.
Rome death metal act ADE will release their fifth full-length album, “Supplicium”, on March 14th 2025 via Time To Kill Records.
The band shares the album’s second single. Stream “Ad Bestias!” HERE.
ADE commented:
“The Roman people must quench their thirst for blood and justice. A man must pay for what he has done. What will be the instrument of death, the path to redemption from guilt? Amidst the hatred and the cries, a cruel sentence rises: ‘AD BESTIAS!’ Devoured alive by wild dogs”.
True to their musical identity, the band continues to explore the allure of ancient Rome, weaving tales of battles, sacrifices, and glory into a powerful and immersive narrative.
“Supplicium” represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail.
The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution.
With “Supplicium”, ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.
Tracklist:
01. Ave Dis Pater 02. Burnt Before Gods 03. Ad Bestias! 04. Let There Be Oblivion 05. Vinum 06. Patibula 07. Quartered By Chariots 08. Oderint Dum Metuant 09. From Fault To Disfigurement 10. Taedium Vivere
ADE is an Italian death metal band forged in 2008. Right from the start, the band chose Ancient Rome as the focus of its themes and main source of inspiration: visually, musically and lyrically. The inclusion of traditional melodies and folk instruments gives the band’s technical death metal a strong epic character.
ADE have released four full-length albums so far: “Prooemium Sanguine” (2010), “Spartacus” (2013, featuring George Kollias as guest drummer), “Carthago delenda est” (2016) and “Rise of the Empire” (2019).
Known for their intense, dynamic, and interactive live performances, the Italian act has already made their mark on concert halls and festivals across Europe, sharing the stage with renowned acts such as Behemoth, Morbid Angel, Asphyx, Possessed, Hypocrisy and many more and performing at legends festivals such as Wacken Open Air (2009), Mass Deathruction Festival (2014), Inferno Metal Festival, Fosch Fest (2015) and more recently Stonehenge Festival (2023).
While a fresh mutation, Retromorphosis are a proven batch of tech-death freaks. The band contains former members of Spawn of Possession, Obscura, Necrophagist and Decrepit Birth.
Each of their singular talents is a legend in their own right, but the raw spirit of Retromorphosis’ upcoming debut album Psalmus Mortis springs from the ghoulish grooves of bassist Erlend Caspersen. Along with SoP’s revered Incurso, Caspersen has played with IGORRR, Blood Red Throne and Deeds of Flesh.
Today, Retromorphosis are releasing a new bass playthrough of the band’s latest single. Caspersen’s fast and filthy bass runs are the gnarled roots from which the twisted tale of “The Tree” takes its almighty hold.
Can’t wait to hear the gloriously grotesque new album from Retromorphosis? Hear all of Psalmus Mortis two weeks before it comes out by joining their Bandcamp Listening Party.
Retromorphosis Psalmus Mortis Bandcamp Listening Party
Thursday, February 6 @ 1 pm Eastern Time / 7 pm Central European Time. RSVP
Tracklist: 1. Obscure Exordium (1:50) 2. Vanished (4:48) [WATCH] 3. Aunt Christie’s Will (5:46) 4. Never to Awake (4:34) 5. The Tree (5:24) [WATCH] 6. Retromorphosis (5:12) 7. Machine (9:05) 8. Exalted Splendour (5:30) Full runtime: 42:11
Lineup Jonas Bryssling (Spawn of Possession) – Guitars Dennis Röndum (Spawn of Possession) – Vocals Christian Muenzner (Spawn of Possession, ex-Obscura and Necrophagist) – Guitars Erlend Caspersen (Spawn of Possession, The Allseeing I, Abhorrent) – Bass KC Howard (Odius Mortem, ex-Decrepit Birth)- Drums
Even a lawless field like death metal has exceptions that prove the rule. Retromorphosis spawned from a unique leader of the genre, but their unholy union on Psalmus Mortis is a living testament that you can’t bury what was already undead.
Spawn of Possession remains one of modern metal’s most accursed influencers. During the early to mid-2000s, the noctambulant Swedes toured both sides of the Atlantic alongside Cannibal Corpse and Hypocrisy. Having scaled the accursed summit to reach death metal nirvana on what was only their third album, after three decades, the band was put to rest. But like an especially pungent spore, the seeds of SoP have been festering in its hallowed crypt, waiting to come alive and haunt the earth once more.
Such is the sordid backstory of Retromorphosis and their debut Psalmus Mortis. In 2020, amidst the pandemic’s endless lull, one of Spawn of Possession’s founding members was again bitten by death metal’s radioactive songwriting bug. “I wanted to make an album that wasn’t tied to anything we’d done before”, says Jonas Bryssling. While this new batch of malevolent creations still stemmed from his punishingly technical fretwork, the riffs were splitting off into even more twisted headbanging directions. But to bring these relentless mutations to life, first, he needed a familiar spark.
“There was no hesitation”, Bryssling says when asked about resurrecting the creative energies with his former Spawn of Possession bandmates. Pairing back up with rock-solid vocalist Dennis Röndum and elastic bassist Erlend Casperson once again yielded promising results during the early phases of Psalmus Mortis. To further test the equation, they added another familiar but no less fearsome shredder. Before joining them for Incurso, Christian Muenzner lent his flaming left hand to two other stone-cold classics: Necrophagist’s Epitath and Cosmogenesis by Obscura. “I don’t have to tell them much”, Bryssling continues. “They know how it’s done”.
Indeed, time has only fermented this group’s mutant chemistry. After spending the summer of 2023 recording Psalmus Mortis in their underground laboratory, Retromorphosis emerged with the missing link in technical death metal’s evolutionary chain. “Vanished” officially cracks open its beaker with the satisfying crunch of the old school, steamrolling out a rugged red carpet for Röndum’s imposing growl. It was the first song Bryssling wrote during the album’s initial trial period, but the band continued to tinker with the album’s eventual lead single after the other eight tracks were hammered into gruesome shape. Muenzner’s solos scream like a poor unsuspecting soul who’s being dragged into the shadows. All the while, Casperson flogs his bass as if hiding a mischievous grin, its ghoulish bounce bringing the lyrics’ cosmic body horror into frightening focus.
“We had rules in Spawn of Possession”, Bryssling explains, as a matter of fact. “Everything always had to be so intense. Psalmus Mortis is intense, too, but it can also be eerie or even quite simple”.
Simplicity might not be Retromorphosis’ dominant chromosome. Even though it’s fueled by straight-forward, down-picked chugging, the album’s nine-minute monolith “Machine” churns through multiple tempo changes, cranking up the tension with every accelerated blast beat. But the band did opt for a leaner chemical base. Psalmus Mortis was produced by Magnus Sedenberg, who’s been the band’s Swedish engineer du jour dating back to Spawn of Possession’s first two demos. “Reuniting with Magnus felt like the natural thing to do”, says Bryssling, “but for this album, we scraped away some of the studio polish”. With its sludgy distortion and hallucinating speed, “Never to Awake” certainly summons the ’90s untamed spirit. “I prefer my death metal to sound ugly and mean”.
While roughly a decade in the making, Retromorphosis still grip it and rip it on Psalmus Mortis. Heck, chunks of the band’s first album were hung up to dry like butchered livestock after just one crack in the studio, much to their own amusement. “I don’t think there’s a single first take on the SoP albums”, Bryssling laughs. Röndum doesn’t mince words, either. He chews through syllables with all the careful consideration of a meat grinder. And while each tale descends into its own sweaty night terror, they all escalate from bad to worse. Despite its seemingly pedestrian title, “Aunt Christie’s Will” unpacks a maze-like mystery that ends with an especially morbid twist.
Of course, given this crew’s technical chops, Retromorphosis were bound to birth more head-spinning experiments. Psalmus Mortis injects fresh blood into their chilling cosmic horrors by fleshing out their technical arsenal with some unusual instruments of torture. The album opens with doomed power chords, pounding drum fills, then…spooky organ glows, tense strings and a ghostly gothic choir. “That was a new experience”, Bryssling says about adding more synthetic textures to the mix, though his inspiration came from a life-long obsession. “That sense of atmosphere was something old-school bands used to have”. The special effects aren’t just saved for its ominous opening instrumental oeuvre, either. “The Tree” puts a dystopian twist on the age-old tale of human greed with synths that glow like alien guts.
Freakier ambience isn’t the only new life form on Psalmus Mortis. “Everyone knows KC Howard is an insane talent”, Bryssling says. Howard left his brutally precise mark on the scene when he was behind the kit for Decrepit Birth, though Retromorphosis were formally introduced to their new drummer through Röndum, as the two had crossed paths during an episode of the Cali Death Podcast. Howard’s nuclear barrage of double bass kicks feeds the band’s cellular engine like jet fuel, driving high-flying album closer “Exalted Splendour” toward its blinding conclusion.
Ask Bryssling to identify what separates this new baby from their first born and the answer is, in fact, quite simple.”Retromorphosis is more free”. Put the song that bears their name under the microscope and feast your eyes on everything this band are capable of: non-stop blasting, brain-bursting bass fills, solos that would fry a supercomputer and pure unholiness. “I’m the one / chosen son / gifted and reborn”.
With Psalmus Mortis, technical death metal’s chosen ones rise from the grave.
Recording Studio: Pama Records AB, Kristianopel, Sweden Sharkbite Studios, Oakland, CA, United States
Production Credits: Produced, Mixed & Mastered by Magnus Sedenberg at Pama Records AB, Kristianopel, Sweden
There are a few albums that are just too good to let go. In the never-ending stream of weekly releases, those few records stay with you, the songs pop up in your head and you return to them every now and then, despite the algorithm sending countless “hot” new bands your way. “Grand Explosivos”, ELECTRIC BOYS 2023 effort, was one of these albums.
In a collection where you could literally blind-pick any song and it would make a great single, the band had the hard task, in the release promotion round, to pick a handful, but the ones left are nonetheless little gems of hard-blink-your-yes-and-there’s-a-funk-groove-rock in their own right. “Missed Her By A Minute” is one of them. Memorable guitar lead, laid-back vocals and a chorus that will stick to your head as only the best songs in rock history can.
That’s why “Missed Her By A Minute” now is inflated with a new life, in this radio-edit version and official video (with drawings by the hand of singer/guitarist Conny Bloom himself). To remind you that great albums are timeless, no matter how rushed things are these days, and also to get the message across. “Wake up and smell the coffee!! It’s time to act”, vocalist, guitarist, and songwriter Conny Bloom states about the song. “”Missed Her By A Minute” is a reminder to not hesitate with the good things in life. Don’t postpone, don’t delay, don’t overthink.. Just DO”.
Join the premiering here:
“Missed Her By A Minute” intends to celebrate Electric Boys’ Scandinavian tour with H.E.A.T., which will happen in the last two weeks of February. Check the dates below.
“Grand Explosivos” is out now on LP (180-gram black vinyl and 180-gram turquoise vinyl, limited to 500), CD and digital formats.
Lineup: Conny Bloom – guitars, vocals Andy Christell – bass “Slim” Martin Thomander – guitars Jolle Atlagic – drums
The forthcoming album features the singles “Love Outta Luck,” “I Just Gotta Let You Know,” “The Willow,” and their latest single “Better This Way.” Stream all the singles on Spotify.
It’s no secret that one of the most exciting new bands making noise in the UK and Europe these days is Canadian. It’s true, and it’s The Damn Truth, a Montreal rock foursome serving up a gutsy, revved up modern reimagining of classic rock ideals.
And now, after touring the UK and Europe for the last four years, The Damn Truth return with their self-titled fourth album, The Damn Truth, and, once again, produced by the legendary Bob Rock (Motley Crue, The Offspring, Bon Jovi). The new album is the culmination of 12 years of hard work and constant touring; The Damn Truth are a perpetual and virtually unstoppable rock and roll machine.
Fuelled by two Top 40 singles on the Canadian Active Rock Charts (“Love Outta Luck,” “I Just Gotta Let You Know”), this new album marks the next level in their relationship with Bob Rock. He has pushed the band in all areas of playing, writing, and refining the Damn Truth signature sound, most evident in the revelatory power of Lee-la Baum’s vocals as evidenced on the mystic, almost Zeppelin-vibed “The Willow;” the full on bittersweet romance of “Better This Way;” the social conscience of “The Dying Dove;” the cautionary “If Don’t Make It Home;” and the hell yeah rabble rousing “All Night Long.”
The Damn Truth have added some extra lanes on their rock and roll highway as they explore new musical scenery, but the destination remains the same: organic loud rock experienced best in a crowded concert hall dripping in sweat.
Singer Lee-la Baum recalls the phone call that started it all – “It’s 3am in the heart of London. The adrenaline from an epic show supporting Glenn Hughes still courses through my veins as I collapse into my hotel room. Just as I start to unwind, my phone jolts me awake. It’s Bob Rock! The same Bob Rock I’d sent our demos to just hours earlier. Anticipation fills the air as I answer the call.
“Hello?”
“Hi there, it’s Bob!”
“How are you, Bob?” I reply, barely able to contain my excitement.
“I’m great! I listened to the new songs first thing this morning and I just had to call you right away. It’s awesome! Probably the best songs you guys have ever written. I’m excited to see you guys in a few weeks.”
“Let’s make a record!”
The album was recorded over a period of two months at Bryan Adams’ Warehouse Studios in Vancouver. This is Bob Rock’s favourite studio; it’s a classic and gigantic old school recording haven (AC/DC had just wrapped up prior to The Damn Truth’s arrival), perfect for the massive drum sound that Bob loves. Unlike their previous LP, Now or Nowhere (2021), which was hampered by Covid restrictions; this one is 100% produced and mixed by Bob Rock, who also gave the band access to his incredible collection of rare and vintage guitars for the sessions.
This is what Bob told the band at the start of this project, “When I hear you guys, I feel the spirit of Zep 1, let’s make a record like that, playing together, live, feeding off each other’s energy. That’s rock n roll”
Led by singer/guitarist Lee-La Baum, the rest of the quartet consists of lead guitarist Tom Shemer, bass-player PY Letellier, and drummer Dave Traina. Critics have been nothing but effusive concerning Lee-la’s vocals. Rock at Night magazine stated, “Lee-La sounds like a combo of Grace Slick (Jefferson Airplane, Jefferson Starship) and Ann Wilson (Heart). Her vocals are beyond powerful… incredible rock and roll.”
Bassist PY Letellier noticed a difference in this album’s creation, “Working with Bob this time around really brought new layers to our music that we hadn’t really had before.”
“Bob Rock is synonymous with the biggest bass and drum sounds,” adds drummer Dave Traina, “But with us, he seemed more interested in the lyrics and melody. He had us play each song quietly with an acoustic guitar and Lee-la’s voice. We built the music around those focal points.”
Their last album, Now or Nowhere, caught fire in the UK and Europe to such a degree (airplay on over 70 stations plus A-list airplay on Planet Rock, the UK’s most influential rock station, in addition to BBC 2 Rock Show.
The Damn Truth have constantly toured Europe performing to audiences in the UK, Sweden, Denmark, Italy, France, Belgium, Germany, Holland, and more). The band have also toured with noteworthy rock bands and artists including Z.Z. Top, Rival Sons, The Cult, Glenn Hughes, The Sheepdogs, Styx, and many more.
Their July 2024, their festival run in Europe included their first ever appearance in Romania (Open Air Blues Festival Brezoi) where the reaction was so overwhelming that the band has been invited back for this year’s festival. They will return to the UK this November for a series of festival and club dates.
This February, the band are special guests on the sold-out Rock Legends Cruise with Alice Cooper, Styx, Burton Cummings, John Waite, Jason Bonham, and others. Another career highlight was being part of the Alex Lifeson’s (RUSH) 2023 all-star band charity concert at Massey Hall, Toronto featuring Lee-la singing lead vocals.
Get ready! 2025 looks to be the year of The Damn Truth!
“THE DAMN TRUTH” TRACK LISTING
1. Be Somebody 2. I Just Gotta Let You Know 3. Love Outta Luck 4. If I Don’t Make It Home 5. Better This Way 6. Mirror Mirror 7. All Night Long 8. The Willow 9. Addicted 10. Killer Whale 11. The Dying Dove
The highly anticipated new album by classic blues rock band CRY FOR MERCY, ‘This Machine,’ is set for release in April 2025. The North Wales powerhouse trio delivers a raw, unapologetic collection of music that stands as their best work to date.
Ahead of the release, the band have released a new video for album track, ‘Show Me.’
Formed in late 2018, Cry for Mercy has become a standout force in the UK underground rock scene, known for their exciting live performances and signature blend of classic blues rock with a hard-hitting modern twist. Their critically acclaimed releases to date have earned the band widespread praise, and their upcoming new album, This Machine, promises to satisfy fans of classic ’70s-infused blues rock.
Cry for Mercy draws deeply from the rich tradition of British blues rock, paying homage to the greats while pushing boundaries with modern influences. Their sound is defined by the soulful, commanding vocals of frontman Kev Plant, the evocative, guitar-driven melodies of Andy Cutty, and the dynamic, thunderous beats of their rhythm section (This Machine features Kev on bass guitar and his son Aled on drums). Described by critics as “AC/DC fronted by Paul Rodgers,” the band’s distinctive style has become their hallmark. Praised for their “luxuriant guitar work” and “muscle-bound drumming,” Cry for Mercy embodies the essence of classic blues rock with a fresh, high-energy edge.
The band’s relentless passion and dedication have propelled them to prominence in the UK rock scene. As finalists in major competitions like Hard Rock Hell’s Highway to Hell and North Wales’ BOA (Bloodstock Festival) Metal to the Masses, Cry for Mercy have showcased their talent on iconic stages. The band has shared stages with renowned acts like The Quireboys, Danny Bryant, Pat McManus Band,Chantel McGregor, and Warrior Soul, delivering unforgettable sets at festivals such as Wildfire Festival in Scotland and the prestigious Breaking Bands Festival. Their performances are a testament to their experience, professionalism, and the raw chemistry of a classic power trio.
The new album, ‘This Machine,’ has been a labour of love for the group. Self-funded by the band and recorded at Absolute Studios in Salford under the guidance of trusted producer/engineer Ben McEwan, the album captures the raw chemistry and creative energy of Cry for Mercy at their best. Musically, This Machine pushes boundaries, incorporating influences from soul, Motown, and classic blues-inspired rock to create a dynamic soundscape. From full-throttle rockers like Walking With The Enemy, the emotive and compelling tonality of Show Me, to the beautifully crafted ballad Nothing At All, Cry for Mercy channels raw emotion and rich soundscapes throughout this new album.
Vocalist Kev Plant says, “The new record really brings out the best in our songwriting, building on the style that we have developed over the last five years but also utilising some of the techniques we have developed in the studio to expand the sound without detracting from who we are as a band. The subtle use of keyboards and the layering of the guitars is a little different for us, but the results are the best record we have made to date. We again worked really quickly in the studio, and the whole thing was recorded in six days. This is a reflection of the care with which we approached the process—making sure all of our ideas were recorded and rehearsed to studio standard, while still leaving room for some creativity during the recording. We feel that this is reflected in the results.”
At its core the new album, ‘This Machine’, is a raw, unapologetic dive into the human experience—love, heartbreak, resilience, and the search for meaning, all laid bare with the grit and soul that classic blues rock fans live for. Every track feels like a conversation, pulling listeners into stories that echo their own lives, rich with authentic, heart-stirring lyrics. This is music that grabs you by the collar and speaks straight to your soul; unfiltered, real, and deeply resonant.
‘This Machine’ is more than just an album; it’s a personal, cathartic, and shared expression of Cry For Mercy’s artistry, poured out for classic rock fans to connect with and enjoy. “We love it… We hope you do too,” says the band.
‘This Machine’ by Cry for Mercy is released 4th April 2025.
Album Tracklist:
1. A Thing About Me 2. Show Me 3. Walking With The Enemy 4. All My Life 5. Let Me Be 6. Nothing At All 7. Moments 8. Saving Grace 9. I Don’t Mind 10. Sometimes 11. You Can’t Help Me 12. This Time
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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