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• Australia's GREYSTONE CANYON's New Album "Something Borrowed…Something New"

  Dec 5, 2025 Fistoffreedom 0 Comments

   

  Australian hard rock outfit Greystone Canyon returns today with their highly anticipated third album, "Something Borrowed… Something New." Out today, as of December 5th, via Rockshots Records, the record is a hybrid collection blending brand-new original songs with powerful renditions of classic rock staples, all captured live in the studio with no click tracks, no tricks, just pure rock ’n’ roll.
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  Formed by vocalist/guitarist Darren Cherry, whose lifelong passion for music was inspired by AC/DC, KISS, and his father’s career as a professional musician, Greystone Canyon has built a reputation for tone, feel, fire, honesty, and organic sound. With drummer Sham (also of Nothing Sacred), guitarist Richard Vella, and bassist David Poulter, the band brings decades of experience, including Cherry’s tenure with Paul Di’Anno’s final Australian tour in 2024.

  
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  ​“This is our third album and is somewhat of a hybrid. It’s a mix of new original material and classic rock cover songs. It was recorded live, together in one room, no click tracks, just real rock ’n’ roll,” says Cherry.

  Greystone Canyon’s new album "Something Borrowed… Something New" pays homage to rock legends like UFO, ZZ Top, Led Zeppelin, Thin Lizzy, and Neil Young, while introducing powerful originals such as Drives Us, Friend of the Fox, and Stealing Our Freedom. Inspired by Van Halen’s Diver Down, the record blends covers and originals into a dynamic listening experience. From the faithful tribute of UFO’s Doctor, Doctor and the smoky swing of ZZ Top’s Just Got Paid, to the road-trip energy of Drives Us and the heavier, metalized punch of Led Zeppelin’s Immigrant Song, the album showcases both reverence and reinvention. Originals like the acoustic, eerie Friend of the Fox and the protest anthem Stealing Our Freedom stand proudly alongside covers such as Thin Lizzy’s Suicide and Neil Young’s haunting Hey Hey, My My. With creative flourishes like "AAF," a Hendrix-style guitar homage to the Australian National Anthem, the album captures Greystone Canyon’s ability to honour rock’s greatest while carving out its own identity.
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  Unlike their previous album, "Iron & Oak," which took six years to complete, "Something Borrowed… Something New" was tracked, mixed, and mastered in just five months. Recorded at Black Lodge Studio under the guidance of Joel Taylor, the band embraced a raw, live recording method that captures the warmth, punch, and energy of musicians playing together in real time.
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  ​“This album has been the most fun we’ve had recording. Albums can be hard work and tedious, but this was a joy to make, and we think you can hear that in the recording,” adds Cherry.

  
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  ​Greystone Canyon are an Australian hard rock band blending classic rock, heavy metal, blues, and folk influences. Known for their organic sound and passionate performances, the band continues to evolve while staying true to their roots. Their music is inspired by life, history, and the future, with lyrics that reflect both personal experiences and broader social themes.
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  ​"Something Borrowed… Something New" is available now on December 5th, 2025, from Rockshots Records on all major streaming platforms and physical formats.

  CD - https://rockshots.eu/products/greystone-canyon-something-borrowed-something-new-cd​

  Add to your Spotify playlist - https://open.spotify.com/album/1ZyEq4kWkhDg6RnzCbGKJj​

  Track Listing:
  ​1. Doctor, Doctor (UFO cover) - 04:16
  2. Just Got Paid (ZZ Top cover) - 03:35
  3. Drives Us - 05:06
  4. Immigrant Song (Led Zeppelin cover) - 02:21
  5. Friend of the Fox - 03:57
  6. Suicide (Thin Lizzy cover) - 05:14
  7. Hey, Hey, My, My (Into the Black) (Neil Young cover) - 03:22
  8. AAF - 1:47
  9. Stealing Our Freedom - 04:26
  Album Length: 33:54

  More info: Rockshots.eu | Facebook.com/greystonecanyon | Instagram.com/greystonecanyon_official​

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• THE MON Interview

  Dec 4, 2025 ArmyOfOneTV 0 Comments

  With Songs Of Abandon, the first chapter of his two-part Embrace The Abandon series, Urlo (Ufomammut, Malleus, Supernatural Cat) unveils one of the most personal and emotionally exposed works of his career as THE MON. Written in a period of solitude and created through a raw, minimalist process—one song a day for nine consecutive days-the album captures a fragile atmosphere of introspection, vulnerability, and transformation. In this interview, we dive into the creative journey behind Songs Of Abandon, its intimate themes, and what lies ahead for the second installment coming in 2026.

  
  
  

  1. This album began with a radical exercise / writing one song per day for nine days using only acoustic guitar and voice. What pushed you into that experiment, and what did those first raw sketches feel like emotionally?
  Urlo: It was a strange period, just after the second lockdown, and I was alone with myself. I decided I wanted to dig inside and see what could come out. I picked up my guitar and simply started playing whatever my hands wanted to do. Then I told myself I needed to heal my soul by writing nine songs, one a day. So I started. Some of them came out easily, others needed a lot more work. The most challenging was definitely “Little Bird”… it took a while before it revealed itself completely.

  2. You’ve described Songs Of Abandon as one of your most intimate and vulnerable works. What personal experiences or moments of solitude shaped the atmosphere of this record?
  Urlo: I was in a moment of transition (it’s been a difficult time for everyone) and I found myself alone, face to face with my own “ugly” self. I wanted to capture that exact moment of my life. I needed something to fight it, to be able to be reborn stronger. 

  3. THE MON is a very different creative outlet compared to the heaviness of Ufomammut. What does this project allow you to express musically or emotionally that you can’t explore with your other bands?

  Urlo: With The Mon I can do whatever I want, without filters or anyone else’s “interference.” It’s just me. When I write for Ufomammut, it’s me and my bass. And then Poia and Levre. With The Mon, it’s different: it’s me and whatever instrument I feel drawn to in that specific moment: guitar, synth, bass, or just vocals.

   

  

   

  4. Despite the minimalistic approach, the album features subtle layers and textures. How did you decide what elements to add while keeping the fragile and raw nature of the songs intact?
  
Urlo:At first I mixed the album in a much more expanded way, lots of delays, reverbs, and wider atmospheres.
But once I finished, I realized something felt wrong.
It didn’t reflect the intimate, fragile atmosphere I wanted.
So I started again, drying everything out and working mainly on guitars and vocals.
When I listened back, I liked it, but it still felt like something was missing.
I needed to recreate the eerie feeling I had while composing, so I added subtle noises, e-bow guitars, and a few synths.
I’m very happy with the final result, it sounds exactly the way it sounded in my mind.

  5. The theme of “abandonment” runs through the album not just as a feeling, but as a path to self-discovery. What did working on this album teach you about yourself?

  Urlo: I learned that if we dig deep enough, if we really search for the hidden parts of ourselves, we can finally see who we are and work on our soul to try to become better. This album gave me calm, but it’s also been a storm. I’m grateful I made it. It helped me understand, to see what was around me, and how lonely we can be in the middle of an ocean of people. But we need to be part of that ocean, to embrace the other waves, to become one.

  6. This is the first half of a two-part series, with the second album coming in Spring 2026. How do the two releases connect? Should listeners expect a stylistic or emotional evolution in the next installment?

  Urlo: When I finished mixing this album, I felt like something was missing. It’s a fragile record, a mirror of a specific part of me. I needed to explore the other parts as well, to dig even deeper, so I started working on the second chapter of the project. I built it like a suite: day after day I added a new section, just like I did with Songs of Abandon. It’s completely instrumental. It came out quickly, in a couple of weeks I had more than an hour of music and then I began carving and forging it into its final shape. And it will be a totally different album.
  
  
  

  

   

  7. You’re also deeply involved in the visual world through Malleus Rock Art Lab. How important is the visual identity of Songs Of Abandon, and did the artwork influence the music or vice versa?
  Urlo: I’m one of the three Malleus members, and artwork has always been fundamental for me. The image of my hands and the three nails represents what’s inside this album. It’s like an atonement, something I’m giving or something I’m receiving. That photo felt like the perfect representation of Songs of Abandon. The videos and animations I created with Malleus are also an essential part of expressing the album’s world.


  8. Given the highly personal nature of this record, were there any moments where the process felt too difficult or too revealing? How did you push through those challenges?
  Urlo: As I said, “Little Bird” was the most challenging song. I worked a lot on that arpeggio.
I wanted something “magical,” something not obvious, something that could surprise even me. It’s the summa of the album, its most representative track. And it’s also the hardest one to play live. When I play it, I feel naked, exposed.

  9. What do you hope listeners feel or experience when they sit with this album? Is there a specific emotional space you want the audience to enter when listening to Songs Of Abandon?
  Urlo: I hope people will truly connect with this album. It’s a record you need to listen to multiple times before entering it completely. I hope it brings emotions, that it makes listeners feel something hidden deep in their own souls.
  
  
  

  
  
  More information:
  https://www.urlothemon.com
  https://themon.bandcamp.com

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• Quebec Deathcore Force DISCOVERY THROUGH TORMENT's EP "Telesynthetic Rebirth"

  Dec 4, 2025 Fistoffreedom 0 Comments

   

  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.
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  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.

  
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  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​​

  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 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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• GRAVEWITCH Unleashes New Music Video "Mistress of Hate" from Self-Titled Album Out Now!

  Dec 3, 2025 Fistoffreedom 0 Comments

   

  Extreme metal duo Gravewitch have released their brand-new music video "Mistress Hate," a blistering visual companion to their self-titled album, which dropped this past June via Rock Sun Records. The release marks a defining moment for the band, showcasing their evolution from raw beginnings to a fully realised professional sound.
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  Formed in 2013 by childhood friends Chris Fleming (guitar/vocals) and Andrew Ingraham (drums), Gravewitch was born out of a shared passion for heavy music and a desire to carve their own path in the underground scene.

  “We’ve been best friends since childhood and decided to create Gravewitch when we were sophomores in high school. This band has always been about pushing ourselves creatively and staying true to our vision,” says Fleming.
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  Fusing elements of Black Metal, Thrash, Death Metal, Melodic Death Metal, and Cascadian Black Metal into a sound that is both punishing and atmospheric, Gravewitch is relentless, melodic, heavy, intriguing, and old-school.
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  ​Gravewitch’s self-titled album takes listeners on a dark and diverse journey through ten tracks, each with its own distinct theme and musical identity. From the haunting portrayal of early 1900s insane asylums in Damnable Evil to the personal nightmare of sleep paralysis in Phantasm, the band blends thrash, black, and melodic elements with precision. Mistress of Hate revisits the brutality of witch trials, while Ritual Reanimation summons undead armies through thrash-driven intensity. Nature and atmosphere dominate Atmospheric Alterations, contrasting with the chilling true-crime narrative of White City Devil about serial killer H.H. Holmes. Woodland Trance evokes haunted forests with cascadian black metal textures, and Systematic Fallout delivers pure thrash chaos alongside the band’s first-ever guitar solo. War themes emerge in Operation Overlord, immersing listeners in the chaos of D-Day, while The Once Sacred Gift of Life closes the album with grief, mortality, and the origins of Gravewitch’s sound. Together, the record showcases the duo’s ability to fuse extreme metal subgenres into a cohesive yet varied listening experience.

  "Written during the chaos of 2020, our self-titled album reflects the uncertainty of the times. We had no idea if these songs were ever going to see the light of day. The chaotic energy of the world matched the diversity of the music, so we embraced different lyrical topics that had nothing to do with each other,” adds Fleming.

  The new video "Mistress Hate" captures the raw energy and occult-inspired aesthetic that defines Gravewitch. Filmed in South Wales, United Kingdom by Ritual Video, the clip features the same actress who played “The Witch” in the band’s debut video Circle of Power from their first album "The Summoning."

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  Recommended for fans of Gravewitch's self-titled album, released on June 18, 2025, via Rock Sun Records, is available on all digital platforms and CD.

  Bandcamp (CD) - https://gravewitchofficial.bandcamp.com/album/gravewitch​

  Add to your Spotify playlist - https://open.spotify.com/album/7kBWr27iJzjvjOfTLP3ZgM​

  Track Listing:​
  1. Damnable Evil (4:24)
  2. Phantasm (4:21)
  3. Mistress of Hate (4:13)
  4. Ritual Reanimation (4:35)
  5. Atmospheric Alterations (4:31)
  6. White City Devil (4:00)
  7. Woodland Trance (5:09)
  8. Systematic Fallout (4:21)
  9. Operation Overlord (5:27)
  10. The Once Sacred Gift of Life (3:32)
  Album Length: 44:38

  Band Lineup:​
  Chris Fleming: Guitar/Vocals/Bass
  Andrew Ingraham: Drums

  More info: Facebook.com/gravewitch | Instagram.com/gravewitchofficial​

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• SEVEN KINGDOMS at Irving Plaza 11/25/25

  Nov 30, 2025 ArmyOfOneTV 0 Comments

   

  

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