///Raids\\\

New Brice Frillici album coming October 4th

Aftershock

RAIDS is the sonic bloodline of Galion — a ceremonial sequel to Brice Frillici's 2024 myth-metal odyssey. Suppose Galion was a galleon slicing through ancestral waters with wrath and grace. In that case, RAIDS is the inland aftermath: a sky-programmed memory collapse, where ash rains on techno-runes and shattered monoliths hum with prophecy. These tracks rise from the scorched ground.

The album opens with "Saxon IV," a ritual drone layered in harmonic distortion, prelude, and incantation. "The Wheel" rides in next, a stoner-Viking dueltrack full of punchy guitars and choral flare reminiscent of Therion's early work. "King Azrael" carries the flame with doom-speech and a Sabbath-weighted riffage that collapses time. Each piece continues the mythic continuum from the Mermaiden Galion, but here the focus shifts inward into ceremony, ancestral memory, and cryptic storyline.

The world of RAIDS is further charred, blackened, paganized, shamanic, and psychic. A tonal language rooted in layered distortion and gritty cinematic scores. Sunn O)), Swans, early Soundgarden, and Slint, the structure and grief of Mahler, the ambient ruin of Godspeed You! Black Emperor, and the collage-magic of visual artists like Romare Bearden and Frazetta. Conan the Barbarian soundtrack. Sonic rite bone towers wrapped in glyphs.

The trilogy of release, beasts of the Evergreen.

"His gifts to the people were the seeds of the Evergreen. His generosity cataclysmic!"

///Raids\\\

New Brice Frillici album coming October 4th

Ritual Sonic Warfare

RAIDS is a ceremonial record war march. It is distortion, blood harmonies, and corrupted chant. Viking psych-opera, it unrolls across 10 tracks, half-standing towers of tone, drone, and myth.

"Ketendamine" drone spirals the centerpiece: a swirling audio hallucination with echoing elf and troll voices speaking telepathically through cracked speaker cones. "Romulus and Remus" pulls from the Roman origin myth, rendered as tribal chant and spectral pulse. "Tilikum the Tide" takes innocence. A 5-minute meditation on violence, captivity, and underwater memory. A sonic requiem for the new savage orca.

Sludge intent. Weapon shapes prayer.

Cherubs. God Bullies. The Fragile-era Nine Inch Nails filtered through the haze of DMT and Norse croak.

Fragments. Guitars decay. Every track laced with ambient language, stone-on-stone, broken radios, and voices prophecy.

The trilogy of release, beasts of the Evergreen.

"His gifts to the people were the seeds of the Evergreen. His generosity cataclysmic!"

///Raids\\\

New Brice Frillici album coming October 4th

Language of Collapse

Frillici sculpts this space with mythic sound elements and high-concept visual language. The album cover alone is a brutalist masterstroke: steel bone-towers engraved with static maps, altar fragments collaged into AI-shredded symbolism, scorched circuitry buried in cloth-textured dirt. It's what happens when memory is stored in the atmosphere and the sky remembers being broken.

Each track sounds like it was found buried and uncovered under static and secrecy. "Engine Man" plays like a Pink Floyd interlude. Horns from "Atom Heart Mother" blast away. "Viking X" closes the album with a distorted Moondog prayer, church organ swells, Norse harmonic overlays, and a final surrender.

RAIDS builds on everything Frillici began with Galion, but folds it into a deeper storyline.

The trilogy of release, beasts of the Evergreen.

"His gifts to the people were the seeds of the Evergreen. His generosity cataclysmic!"