{"id":263,"date":"2026-04-26T21:12:40","date_gmt":"2026-04-26T21:12:40","guid":{"rendered":"https:\/\/www.marinerfm.eu\/?p=263"},"modified":"2026-04-26T21:12:40","modified_gmt":"2026-04-26T21:12:40","slug":"without-mercy-glass-new-single-ep-info","status":"publish","type":"post","link":"https:\/\/www.marinerfm.eu\/?p=263","title":{"rendered":"Without Mercy: “Glass” (New Single & EP Info)"},"content":{"rendered":"\n
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L-R – DJ Temple – Guitars, Alex Friis – Vocals, Ryan Loewen – Bass, Matt Helie – Drums<\/p>\n\n\n\n

Photo Credit: Shimon Photo – www.shimonphoto.com<\/a><\/p>\n\n\n\n

Canadian extreme groove metalers Without Mercy<\/strong> have released \u201cGlass,\u201d<\/strong> the second single and visualizer from their upcoming EP Infinite Loss<\/strong>, arriving May 8,th, 2026. \u201cGlass\u201d<\/strong> follows the EP\u2019s first single and music video, \u201cThe Saint,\u201d<\/strong> which marked a bold creative departure for the band and signaled a new era of intentional, high\u2011pressure songwriting.<\/p>\n\n\n\n

“Glass\u201d<\/strong> began with a single riff written after guitarist DJ Temple<\/strong> witnessed Meshuggah<\/strong> live, a moment that set the tone for the entire track.<\/p>\n\n\n\n

\u201cGlass 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,\u201d <\/em>says Temple.<\/p>\n\n\n\n

Musically, the track leans into interconnected riffs inspired by Meshuggah and Alluvial, filtered through Without Mercy<\/strong>\u2019s own voice. The groove is physical and controlled, tightening inward as the song progresses before opening into a massive, final release. Lyrically, \u201cGlass\u201d<\/strong> 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.<\/p>\n\n\n\n

Listen to “Glass” <\/strong>via its premiere on Bravewords <\/strong>HERE<\/strong><\/a>.<\/strong><\/p>\n\n\n\n

“Infinite Loss” <\/strong>is Without Mercy<\/strong>‘s long-awaited return since releasing their breakout 2020 album “Seismic<\/strong>.” Created under the most immersive conditions the band has ever embraced. For the first time, Without Mercy <\/strong>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\u2011song EP built not around singles, but around statements, each track chosen only after surviving intense scrutiny, revision, and honest confrontation.<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

\u201cThere 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,\u201d <\/em>adds Temple.<\/p>\n\n\n\n

The EP’s artwork was created in collaboration with longtime friend Diego Gedoz de Souza<\/strong>, 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\u2019s emotional core: inevitability, loss, and the pull toward something inescapable.<\/p>\n\n\n\n

Formed in 2007, Without Mercy blends groove, extreme metal, and technical precision into a sound described as \u201cheavy and insightful at the same time.\u201d<\/em> The band has shared stages with Cattle Decapitation, Aborted, and Death Angel, and has appeared as downloadable content in Rock Band 3<\/em>, bridging gaming culture and heavy music.<\/p>\n\n\n\n

Their discography includes “All Else Fails” (2007), “Without Mercy” (2009), “Reborn” (2014), rereleased as <\/em>“<\/em><\/strong>Mouichido” (2016), and “Seismic” (2020).<\/em> “Infinite Loss”<\/strong> marks their most focused and intentional work to date, a release built from collapse, rebuilt through discipline, and finished with absolute conviction.<\/p>\n\n\n\n

Recommended for fans of Meshuggah, Alluvial, Decapitated, Fit For An Autopsy, and Gojira.<\/p>\n\n\n\n

Due out on May 8th, 2026, EP “Infinite Loss”<\/strong> is available for pre-save at https:\/\/ffm.to\/infiniteloss<\/a>\u200b<\/p>\n\n\n\n

Music Video<\/strong> – The Saint – https:\/\/www.youtube.com\/watch?v=Le9wnFk5vzM<\/a><\/p>\n\n\n\n

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Track Listing:<\/strong>\u200b
1. Infinite Loss – (4:15)
2. The Saint – (3:39)
3. Glass – (3:16)
EP Length: 11:11<\/p>\n\n\n\n

EP and Live Band Line Up:<\/strong>\u200b
Alex Friis – Vocals
DJ Temple – Guitars
Ryan Loewen – Bass
Matt Helie – Drums<\/p>\n\n\n\n

More info:<\/strong><\/p>\n\n\n\n

\u200bhttps:\/\/www.withoutmercyband.com\/<\/a><\/p>\n\n\n\n

\u200bhttps:\/\/www.facebook.com\/withoutmercyband<\/a>\u200b<\/p>\n\n\n\n

\u200bhttps:\/\/www.instagram.com\/withoutmercyband<\/a><\/p>\n\n\n\n

\u200b“\u201cThe Saint\u201d 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 \u2014 grooves of differing kinds \u2014 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 \u2014 indeed, it\u2019s 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\u2019s just a quick breather before the song\u2019s 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<\/em><\/p>\n\n\n\n

“Without Mercy\u2019s New Album Is A Whirlwind of Sonic Punishment” – The Pit (Seismic – 2020)<\/em><\/p>\n\n\n\n

“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)<\/em><\/p>\n\n\n\n

“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)<\/em><\/p>\n\n\n\n

“…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)
\u200b<\/em>\u200b
\u200b“Overall, two elements really struck me here\u2026one 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\u2019s almost like they can finish each other\u2019s sentences before they even open their mouth.” – Metal Temple (Seismic – 2020)<\/em><\/p>\n\n\n\n

“While the heavy metal name generator might have had something to do with what this meaty metal unit called themselves, you can\u2019t say it doesn\u2019t fit. Without Mercy are pretty damn *ahem* merciless and to cap that off, their new album is so aptly titled. Seismic\u2026a relentless powerhouse that is akin to tectonic plates smashing into each other. There is no fucking mercy and it\u2019s fucking glorious. Excuse the swearing but that\u2019s how this album makes you feel. It makes you feel like a beast. It makes you feel capable of taking on the world. It\u2019s chunky, it\u2019s thick, it\u2019s chokingly devastating and undoubtedly one to be remembered.” – Games, Brrraaains & A Head-Banging Life (Seismic – 2020)<\/em><\/p>\n\n\n\n

“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 \u2014 guess on your own who that might entail. DJ Temple’s guitar work on “Worthless” is terrific..” (Mouchido EP 2016) – Blabbermouth<\/em><\/p>\n\n\n\n

“Vancouver\u2019s 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 \u2013 which include a small handful of recordings, a bigger handful of tours, and appearances in video games \u2013 have been felt at a deeper clip because they\u2019ve essentially managed everything themselves.” (Mouchido EP 2016) – Decibel Magazine<\/em><\/p>\n\n\n\n

“In a word, the music rips. And it also thunders, and punches so fast and hard that it\u2019s like a jackhammer-sized nail gun ramming bolts into concrete at high speed while the operator howls and shrieks for all he\u2019s 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<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

L-R – DJ Temple – Guitars, Alex Friis – Vocals, Ryan Loewen – Bass, Matt Helie – Drums Photo Credit: […]<\/p>\n","protected":false},"author":1,"featured_media":265,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/posts\/263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=263"}],"version-history":[{"count":1,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/posts\/263\/revisions"}],"predecessor-version":[{"id":266,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/posts\/263\/revisions\/266"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=\/wp\/v2\/media\/265"}],"wp:attachment":[{"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=263"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=263"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marinerfm.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}