VORAATH

track-list:
Into Perdition
The Road to Samm Hill
Waypoint Orion
Terminus Rift
Dreadborn
The Barrens
Judas Blood and Vultures
The Leviathans Keep
Dirge Colony
The God-Killer Saga
Pyrrhic
Sirenhead

produced and mixed by Joshua Ward
mastered by Mike Low
additional artist:
Taylor Presnell – studio vocals

tour Dates 2024 w/ Gorgatron, Casket Robbery, Voraath:
June 19 Fargo, ND The Aquarium
June 21 Missoula, MT The Dark Horse
June 22 Richland, WA Ray’s Golden Lion
June 23 Seatle, WA The Funhouse
June 24 Portland, OR Twilight Cafe and Bar
June 26 San Francisco, CA DNA Lounge
June 27 Hollywood, CA Knucklehead
June 28 San Diego, CA Brick by Brick
June 29 San Louis Obispo, CA Humdinger Brewing
June 30 Tempe, AZ Metal Head’s Clubhouse
July 01 El Paso, TX Rock House
July 02 Thornton, CO Trailside Saloon
July 03 Albuquerque, NM Rensden
July 05 Austin, TX Come and Take it Live
July 06 Corpus Christi, TX Boozerz Rock Bar
July 07 Houston, TX The Compound
July 08 New Orleans, LA The Goat
July 09 Nashville, TN The End
July 10 Springfield, MO The Odyssey
July 11 Lincoln, NB Cosmic Eye
July 12 Kansas City, MO Farewell
July 13 Sioux Falls, SD Bigs
SLAMDAKOTA W/ MAUL & DETERIORATION:
August 24 Battle Creek, MI Michigan Metal Fest

Voraath:
“We think this album will be something unique, a whirlwind of emotions and an auditory odyssey. We capsulated real events in our lives and laced them through our complex musical universe. We want the fans to feel the music, ride along with us on this musical journey through our dystopian planet. This album will be an investment of thought and emotion. We want to immerse the listener in another world. It’s heavy yet sad, brutal yet immersive, so we hope to take everyone on a journey. That journey is scored with metal!”
‘Into Perdition’:
“The old roads of the Appalachian, barren and soulless lay ahead. Each step reminding us of our failures and a foreshadowing of the unfavorable journey that lies ahead. This song captures the native folk tones on the Appalachian mountains, reworked to resemble the feeling of being lost and broken.”
‘The Road to Samm Hill’:
“We have received coordinates to the location of the relay, an alien mechanism that can bend space-time. Employed by EOS Corp, our mission is to retrieve the relay at all cost. As we approach the area of operation, we are confronted by a creature frail and decaying stumbling along the old road. As it approaches us it reaches out its hand, revealing a sort of otherworldly controller. The creature shortly after petrifies and dies. Resuming our journey we come across a barren village, with dead bodies scattered. Further investigating we discover that Ostromek Corp had been conducting experiments on what seems to be an otherworldly entity. The scientist and security officers of Ostromek had seemingly lost control of the creature which had led to the massacre of the local village. This song outlines our battle with the otherworldly entity as well as discovering a traitor in our own ranks.”
‘Waypoint Orion’:
“The mission to Samm Hill was a failure. We resumed our pursuit of the relay (The Nexus key) deep into the Appalachian forest where we would discover a mound of bodies, the corpses of the lost villagers. Creatures from beyond our dimension stood guard and at the apex of the mound was a vile creature with authority over the lesser sentinels. The relay had been activated and was shimmering red particles when we noticed the screams of a little girl laying at the base of the corpses. To recover the little girl we would have to eliminate the corpse guardian. After killing a few of the creatures the relay began to resonate louder and louder. As we shot the third creature the very land around us changed. The sky became red and the landscape was foreign. We shot the fourth creature and reality itself transformed around us. With each kill the relay activated, altering the world around us. As we eliminated the final guardian and rescued the little girl, we found ourselves trapped in a different dimension.”
‘The Terminus Rift’:
“Stuck in an alternate dimension, a dark world of obsidian spires and tattered geometric architectures, we had to find a way to return home. We are confronted by otherworldly zealots. Our primary mission is to survive while we try to figure out how to operate the relay. While making our way through the chasms of this dark stone city, we awoke a nefarious entity, a vicious titan whom the zealots praised as a god. While attempting to repair the relay, the hunters must survive the onslaught on the titan and its servants.”
‘Dreadborn’:
“This song is a flashback to how Marrow came to join the hunters. During a mission to retrieve a key component for the relay, a mechanism called the Navigators Key, the hunters had to infiltrate a military compound controlled by Ostromek Corp. The hunters would arrive to a facility of dead soldiers and a rogue seer with telepathic abilities on a murder spree. While on a mission of vengeance, Marrow (seer) targeted the hunters not knowing that they were not affiliated with Ostromek Corp. After a vicious battle, the hunters were able to subdue the seer, recruiting her into their ranks and acquiring the Navigators Key.”
‘The Barrens’:
“This was our first song as a band, a song that encapsulated the brutal and melancholic nature of post traumatic stress (ptsd). The video is a series of flashbacks for the point of view of two of the hunters. One is experiencing loss and betrayal; meanwhile being pursued by a savage otherworldly entity (which shows the layers of coping with one tragedy while fighting to simply exist). The other is the feeling of hopelessness that turns to hate and that hate consumes those around her. The music itself carries out like a metal movie soundtrack, with aggressive peaks and demented valleys, all culminating into the grand apex of the final segway, an epiphany of taking back control (live to fight another day). We hope this brings awareness to the struggles and trauma we all are dealing with, awareness for those coping with PTSD.”
‘Judas Blood and Vultures’:
“Mission: 3116 The Red Village incident: The Valewalkers are contacted by an old friend, Tobias to investigate a series of strange disappearances in a neighboring village. It is believed that a vile creature from beyond the Nexus Rift, known by the locals as Lumia is responsible for the missing villagers, among them, Tobias’ new bride and infant child. As the hunters and their forlorn guide begin their pursuit of the creature and its cultist minions, they soon discover that not all is as it seems in the ruins of the red village.”
‘The Leviathans Keep’:
“This song is actually a prequel to our main story line. In our musical lore, we are mercenaries who take odd jobs in a dystopian society for resources for our village. We took a contract to escort a EOS Corporation scientist to a classified location in the mountains to recover data on a deceased entity. Our mission is to activate the IC-B18 energy barrier that isolates the area of operation and protect the scientist at all cost. Due to an intense GRS (Gamma Ray Storm), the relay drone used to communicate and initiate the barrier was destroyed which prompted an emergency evacuation, unfortunately the extraction point is occupied by savage mutant cannibals. The song follows our failed mission as we fight to survive the treacheries of the mountain. The end of the song has a unique twist. As our curiosity gets the better of us and we discover what EOS corp was researching; the corpse of a cosmic entity that will change our lives forever. The music is the culmination of primitive brutal rhythmic patterns and the epic soundscapes of survival. We are excited to share what we feel is something very unique in the metal and music community.”
‘Dirge Colony’:
“We have been given our final orders, to hunt down and eliminate the vile entity own as UA -33, the ender. While en route, the hunters came across the scattered remains of their friends from a neighboring colony. They dismally traversed the ravaged village. The hunter known as Ward, came across an old house with sounds of men celebrating. Ward began quietly investigating the dilapidated house, coming across a battered and wounded young woman. Bloodied, she fearfully signaled Ward to keep quiet. Realizing that she was a captive of soldiers, celebrating the pillaging of the colony, Ward along with the other hunters would murder the heartless mercenaries and mourn the loss of the young woman. This song was actually a dream that we wove into the music, a song about mourning loss and coping with nefarious circumstances.”
‘The God-killer Saga’:
“This song is the apex of our journey, from locating and retrieving the nexus key (relay) and the Navigators key, to grand standoffs with interdimensional entities, their mission would lead them to the very source of the apocalypse, to the entity UA-33 or the ‘ender’. Deep in a gorge in the Appalachian mountains, the hunters approach a rift in the stone, a divot between dimensions. After defeating the creatures guarding the rift, the hunters would finally confront the seemingly iniquitous god; but nothing is what it seems and a secret with unfathomable repercussions will be revealed. Here is where the hunter’s journey ends and the sentinels of Voraath begins.”
‘Sirenhead’:
“Though most of the concept of our debut album follows a group of ‘survivors’ who are tasked with hunting down an inter-dimensional deity who has ravaged the earth, for this song (‘Siren Head’) we wanted to do something ‘less’ otherworldly and a bit more of a horror. Our children love watching scary stories about this creature called ‘Siren Head’. Come to find out that so many kids his age are infatuated by the monster, so we wanted to write our interpretation of ‘Siren Head’ based on the artist Trevor Henderson. This also allowed for us some family metal/horror time!”
‘Pyrrhic’:
“After learning the truth of our journey, we must cope with the traumas and loss of our endeavors. This song is very bleak, capturing the sound of emptiness. Feeling as if there is no hope, no end and the endless pain of enduring existence.”

produced & mixed by Joshua Nassaru Ward
mastered by Mike Low

Gearing up for a debut full-length in 2024 via Exitus Stratagem Records, VORAATH unleashes brutal horror-inspired extreme metal.
Earlier this year they revealed their new vocalist Chelsea Marrow (Visitant, The Monster Factory – Death Metal Choir for the video game DOOM Eternal with the reenvisioned, remixed and remastered version of the single and music video ‘Siren Head’ along with the addition of guest melodic vocals from Taylor Presnell.
Now the band embarks on telling their next horror tale with ‘Judas Blood and Vultures’, the first from a series of music videos they will be offering in the coming months in support of their forthcoming album.
“We are excited to kick off our official series of music videos that encapsulate the lore of the music. We want to integrate many visual elements, from action to horror to science fantasy; this song highlights the pace of the album. The title of the song, ‘Judas Blood and Vultures’ is a story of betrayal told through the lens of an action-horror. We want the audience to feel as if they are watching a first-person video game, blending our style of metal with our enthusiasm for 80’s sci-fi/horror and video games. We are excited to be working with Exitus Stratagem Records in bringing to life our musical vision. We are aiming to bring more than just metal but an entire experience, an auditory odyssey while still keeping our roots in blackened symphonic death metal.”
adds Voraath band founder and drummer Joshua Nassaru Ward.
Ward co-wrote the storyline for ‘Judas Blood and Vultures’ along with directing its video with the combined efforts of the band’s team at Eldersverse Studio.
The story of ‘Judas Blood and Vultures’ takes place in the year 2193 – Mission: 3116 The Red Village incident:
The Valewalkers are contacted by an old friend, Tobias to investigate a series of strange disappearances in a neighboring village.
It is believed that a vile creature from beyond the Nexus Rift, known by the locals as Lumia is responsible for the missing villagers, among them, Tobias’ new bride and infant child.
As the hunters and their forlorn guide begin their pursuit of the creature and its cultist minions, they soon discover that not all is as it seems in the ruins of the red village.
Integrating science fantasy, soundscapes, and metal, VORAATH looks forward to tantalizing audiences and leaving them anticipating their forthcoming debut album in 2024.
“I wanted to create more than just another metal band but an intricate brand with lore to explore alongside the music. We are creating a metal multiverse,” adds Ward.
As they tour across the American midwest, they promise an onslaught of theatrics, bringing their stories of the music to life.
Atmospheric and driving, the medley of blast beats, chugging bass, and heavily distorted solos will be both intense and immersive.
Ward:
“Our stage wear is directly from the lore. Each one of us is a character in the lore of our music. Tactical dystopian armor, Alien-like helmets with red glowing lights, we try to represent the vibe we are writing about.”