
MARES OF THRACE RELEASE NEW SINGLE, “THE SECOND STAGE: DENIAL” TODAY – LISTEN HERE
ANNOUNCE NEW ALBUM ‘THE LOSS’. – PRE-ORDER HERE
Calgary-based Mares of Thrace have returned with a vengeance, unveiling their highly anticipated new album, The Loss, alongside the first blistering single, “The Second Stage: Denial.” The album marks the band’s debut with Artoffact Records and is now available for pre-order.
MARES OF THRACE ANNOUNCE PRE-ORDERS FOR ‘THE LOSS’ — PRE ORDER HERE
“The Second Stage: Denial” kicks off with a disorienting, discordant riff and shriek combo, delivering a phenomenal and deliberate sense of unease that trudges right along. Sludge-heavy grind is infused with a grungy rawness, but beneath the layers of chaos a calculated precision emerges, delivering a prolonged melee that feels both devastating and cathartic.
Thérèse Lanz’s vocals are a highlight, exuding a wavering psychosis reminiscent of David Yow of The Jesus Lizard, but unmistakably her own brand of madness. Her haunting growls and tortured shrieks ride over the track’s thunderous riffs, perfectly matched by Casey Rodgers’ powerful and punishing drumming. Together, they create a sonic experience that is equally primal and sophisticated, drawing comparisons to bands like ISIS and Elder while maintaining a voice that is pure Mares of Thrace.
“This song is named after one of Elisabeth Kübler-Ross’ stages of grief: Denial,” says Thérèse Lanz. “Musically, it’s a tribute to one of my greatest loves—gross, filthy noise rock. It’s occasionally been referred to by live audiences as, ‘my favourite song was the one where you yelled, and then stopped, and then yelled again.’”
The song is a journey through tension and release, guiding listeners from its crunching, sludge-soaked peaks to a stripped-down, tribalistic conclusion. It’s an anthem of deconstruction, DIY chaos, and artistic fury. As the track winds down, it feels like the aftermath of a sonic battlefield—a chalk outline of sound left on the unfinished basement floor, a raw and evocative moment designed to stir the soul and inspire circle pits alike.
LISTEN TO NEW SINGLE ““THE SECOND STAGE: DENIAL” HERE
The band’s upcoming album The Loss explores themes of grief, transformation, and resilience, an extension of Lanz’s personal journey over the years. The album also builds on the band’s legacy, following critically acclaimed releases like The Pilgrimage (2012), long-listed for the Polaris Music Prize, and 2022’sThe Exile. Now partnered with Artoffact Records, the band embarks on a new chapter, delivering music that is as cathartic as it is confrontational.
ABOUT MARES OF THRACE
Canadian mixed-race mixed-gender duo Mares of Thrace deal in a brand of heaviness that draws as much from noise rock and hardcore as it does from the doom metal they’re commonly grouped with. The band came roaring back to life in 2022 after a considerable hiatus; while 2012’s The Pilgrimage (released on Canada’s Sonic Unyon Records) catapulted them onto the world stage, garnering a premier on Pitchfork and praise in Decibel, Terrorizer, Metal Hammer, and countless other outlets, their current era is fast eclipsing it. Their relentless schedule in support of 2022’s The Exile saw them tour the USA, Canada, and Europe (including a tour with UK doom legends Conan, and stints with Bell Witch, Dopethrone, and KEN mode) and headline a showcase at new “North American Roadburn” festival Prepare the Ground.
The band’s new incarnation sees vocalist and guitarist Trez (hailed as “absolutely riveting, an unrivalled monster of a frontperson” by Exclaim! Magazine) joined by Casey on drums, a multi-instrumentalist and audio engineer whose bona fides include being tapped to replace Gene Hoglan in Zimmer’s Hole.
2025 looks to be their most ambitious year yet, as they prepare to release their fourth full-length album–The Loss– on illustrious label Artoffact Records (home of Kaelan Mikla and GGGOLDDD). Produced by Scott Evans (Sumac, Sleep, Thrice, Covet, Yautja), it is a personal journey through mortality, grief, and losses of various kinds, and a reflection on the universality thereof; its song titles are a nod to the famed stages of grieving coined by psychologist Elisabeth Kubler-Ross.
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