Emerging from the Heavy underground of Seattle, Washington, the Fuzzy Psych-tinged Doom Metal trio Hexecutioner — featuring vocalist and guitarist Erin Gravina, bassist Daniel McManus, and drummer Bryce Hebner — has established a formidable sonic identity. Following their releases “Pagan Ground“ (2024) and “Tornit” (2025), the band returns with their third full-length album, “Ascension Rock,” set for release on October 23, 2026.
Framed conceptually around sound frequency rituals, high strangeness, and unseen dimensions, “Ascension Rock“ captures the power trio at their most hypnotic and expansive. Ahead of our full review of the album, we caught up with the band to discuss their musical evolution, the lore behind lead single “Shapeshifter,” their self-production process at 7Hills Studio, and their perspective on today’s Heavy Music scene.
Hexecutioner formed in Seattle, a region with a deep history of heavy and sonic experimentation, and you released “Pagan Ground” back in 2024 followed by “Tornit” in 2025. Looking back at those first two records, how do you see your sound and songwriting dynamic having shifted leading into ”Ascension Rock“?
Bryce: “We tried to step things up a bit as far as song structure and dynamics. We tried to have more restraint than Full balls to the walls right out of the gate. Experimented with more texture and emotion, letting the intensity and power build up throughout the song.“
Operating as a power trio: Erin on guitar and vocals, Daniel on bass, and Bryce on drums, requires a high degree of spatial awareness and chemistry. How do you approach crafting such a Heavy, hypnotic soundscape without needing a second guitar?
Erin: “I have two guitar rigs I play at the same time. I run a 1983 Mesa Boogie Mark II c+ head with a Ampeg SVT 8 x10 bass cab, and Orange Rockerverb 100 MK II head with a 200 watt Orange 4 x10 guitar cab. Danny runs an Orange AD 200 MK III head with a Orange 1 x15 and Orange 4 x 10. It creates a really thick crisp wall of sound and captures the low end well.“
Releasing three full albums within three years represents a very steady creative output. What keeps the songwriting momentum flowing so consistently for the three of you?
Bryce: “We’re motivated and Erin puts in so much time and work. She is extremely passionate and really keeps this thing on the rails and moving smoothly. It does take a while to write, record, and produce. We would ideally release an album every year or two as long as we have the cashflow to do so.“
Being based in Seattle, how does the local Pacific Northwest scene shape your perspective as an underground band today, and where do you feel Hexecutioner fits into the broader modern Doom landscape?
Bryce: “There are so many great bands in this area. And it’s awesome to play shows with them and collaborate with each other. Having all these talented bands in one area is really inspiring and motivating. I think the coolest thing about releasing these albums is the national and international response. We’ve mailed albums all over the country and Europe. So that is really inspiring to focus on a broader picture and continue building a national and international audience.“
“Ascension Rock“ is framed conceptually around a “sound frequency ritual” navigating unseen energies of dark and light. What inspired this specific concept, and how did you translate the idea of a frequency ritual into musical arrangements?
Erin: “We were going for a sound that invokes a meditative state. I think it was also loosely based on an episode on ‘Secrets of Skinwalker Ranch’, where they were experimenting with sounds and frequencies to reach a meditative state and achieve certain brain patterns such as Alpha state, a state of hypnotism or trance. With the guides of sounds, frequencies and symbolism affecting the physical environment during the ritual. Heat maps showed an increase in actual physical temperature surrounding the sound circle.“
The opening track and lead single, “Shapeshifter,” focuses lyrically on cryptids, high strangeness, and entities altering reality. What drew you to cryptid lore and dimensional phenomena as themes for this song?
Erin: “We’re drawn to the subject matter. I feel like a preacher trying to spread the truth about UFOs, UAPs, Orbs, Cryptids, Shapeshifters, Wormholes etc. The biggest government conspiracy coverup in all of our lives is the cover up of other interdimensional beings and entities that share this earth with us. People need to know the truth. They are here with us and always have been. We are on the forefront of new scientific and astro-physical evidence and proof of their existence. I think in our lifetimes the masses will come around to the undeniable truth.“
Clocking in at nearly six minutes with a Heavy, hypnotic rhythm, “Shapeshifter” was accompanied by an official music video. How did the visual concepts align with the unsettling theme of questioning whether humanity has become “prey” to otherworldly forces?
Looking at the rest of the tracklist, featuring titles like “Usurper,” “Manifested,” and “Star and Stone,” do these songs continue the dimensional narrative of “Shapeshifter,” or does each track explore a distinct story?
Erin: “Each one sort of has its own story, but I’d say an overlying theme would be.
Using your power, your will, your magic: to manifest what you want in life; to see the hidden truths; to find your true self; to find strength and to fight when is needed;“
On the other hand, titles like “Sink or Swim” and “Billionaires” contrast somewhat with the esoteric and occult titles on the album. Is there a social or real-world commentary underlying those tracks?
Erin: “I think billionaires is about seeing the unseen dark forces of the oligarchy at play. None of us will ever see a billionaire in person, yet they impact and affect all of our lives and livelihoods more than we realize. Sink or swim is about riding the waves of life. Navigating the ups and downs. the ability to get up and catch another breath of life, to live another moment.“
Erin, you handled the music, lyrics, and original cover artwork for “Ascension Rock.” How does your visual aesthetic inform or mirror the sonic world you build on guitar and vocals?
Erin: “We have champagne taste and a beer budget. I had a vision for the cover, and I tried to convey it to an artist, but it didn’t turn out what I was envisioning so I decided to design this cover myself.“
Your notes on the album describe wormholes, bending time and space, and manifestations appearing during the ritual. Do you view performing music as a form of esoteric portal or ritualistic practice when playing together?
Erin : “Absolutely. Music is sacred. I appreciate it deeply and the closest sense of spirituality. Music takes us all various places and transforms emotions. Lyrics can be spells or affirmations.“
“Ascension Rock“ was self-produced by the band, with engineering, mixing, and mastering handled by Dylan Wall at 7Hills Studio in Seattle. What made 7Hills Studio and Dylan Wall the right fit to capture your raw, Fuzzy Doom sound?
Bryce: “7 Hills is a pretty well known studio in Seattle and Dylan has collaborated with that studio a lot. Dylan was highly recommended to us by a couple of different people. We really liked working with him an we liked what he did with our last album ‘Tornit’ . He’s meticulous, organized, and has a good ear. So it was pretty logical and efficient to keep working with him.“
Self-producing allows for total creative freedom but requires strong self-direction. How did you balance your own vision with the technical workflow in the studio during the recording sessions?
Bryce: “We had the songs written before we went in. Erin had the guitar riffs and the formats of the songs on a scratch track before we went into the studio. We had some opportunities to play the songs together beforehand, so we could figure out our parts, take a home recording of it, and then practice on our own before going to the studio. That made the studio process really smooth, and then we were able to fine tune certain parts as we were recording.“
In terms of physical releases, “Ascension Rock“ features a splatter vinyl edition, a 3-panel CD jacket, and a lime green cassette. How important is physical media and tangible artwork to you as a band in a predominantly streaming era?
-Bryce “Physical artwork and products are super important to us. A lot of people still appreciate and collect. Ourselves included. Plus its really nice having something tangible you can touch and feel. It makes it feel so much more real.“
Tone-wise, what specific gear, fuzz pedals, or tuning choices were vital in giving the album its thick, heavy weight?
Erin: “Were tuned to A standard. Our rigs definitely helped create the sound. I also used a few more amps and cabs in the recording studio for an even bigger wall of sound. I used Fuzzlords Dark Master, Boss Blues Driver, and another pedal I’m keeping a secret.“
Psychedelic and Doom Metal rely heavily on physical volume and live resonance. How do you translate the ritualistic atmosphere of “Ascension Rock” into a live venue setting?
Bryce: “Being loud enough is key. And having a fat bass amp, and 2 massive guitar amps/cabs helps make that thick sound. And of course the beefy PA systems mic the cabs and the whole place gets filled out with a sound bath.“
Do you have any memorable anecdotes or unusual experiences from the recording process at 7Hills Studio or while filming the “Shapeshifter” video?
Erin: Well again with champagne taste and a beer budget, I really had to spend a lot of time learning how to create this music video myself. We got some samples from a few different videographers and they all sucked, so that’s when I knew Id better do this video myself.“
Navigating the modern underground music landscape presents both challenges and independence. What has been the most rewarding aspect of managing the band’s releases directly via platforms like Bandcamp?
Erin “We have full creative control and ownership over our songwriting, our timeline, our direction etc. We don’t owe a label a bunch of money for recording. It’s been cool watching this build into something, more fans, more sales, more downloads.“
With “Ascension Rock” officially releasing on October 23, 2026, what are Hexecutioner’s plans for live shows, tours, or future projects following the release?
Bryce: “We’ll be playing around locally and regionally. Next album will probably be released in 2028.“
“Ascension Rock“ will be officially released on October 23, 2026, available digitally and across multiple physical formats. You can order the record and stream the single “Shapeshifter” directly via the band’s official Bandcamp page. Keep an eye out for our album review coming soon on Progressive Rock Journal.
Pre-Order “Ascension Rock” on Bandcamp: https://hexecutioner.bandcamp.com/album/ascension-rock
Lineup:
Erin Gravina / Guitar and Vocals
Daniel McManus / Bass Guitar
Bryce Hebner / Drums
Readers can also experience Hexecutioner’s sound on the official Progressive Rock Journal YouTube channel, where we have featured two of the band’s official videos in collaboration with the band. “Shapeshifter” and “Skookum.”