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Upcoming Metal Releases: 10/13/19 — 10/19/19

Upcoming Metal Releases

Here are the new (and recent) metal releases for the week of October 13th to October 19th, 2019. Release reflect proposed North American scheduling, if available. Expect to see most of these albums on shelves or distros on Fridays.

See something we missed or have any thoughts? Let us know in the comments. Plus, as always, feel free to post your own shopping lists. Happy digging.

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Upcoming Releases

1349The Infernal Pathway | Season of Mist | Black Metal | Norway

Grim. Frostbitten. Kvlt. All theen are traits embodied by Norwegian black metal stalwarts 1349 whose prolific reign of terror began way back in 1997. Now revealing yet another dense and frenzied presentation of occultist ritual magick, the group’s seventh studio album The Infernal Pathway lives up to its name. Preceded earlier this year by the two singles”Dodskamp” and “Enter Cold Void Dreaming,” the new album is packed with frigid blast beats and pulse-pounding chainsaw riffs. Its complexly woven compositions are executed with frightening precision. As a testament to the group’s satanic legacy, The Infernal Pathway is tighter and more polished than anything they have yet created but remains infused with the same sense of terror and evil that pervades their discography..

— Thomas Hinds

Chaos MotionPsychological Spasms Cacophony | Transcending Obscurity | Technical Death Metal | France

From Andrew Rothmund’s premiere of “Vital Vision Void”:

Disjointed, angular, and oftentimes imposing, “Vital Vision Void” spells out what you need to know about Chaos Motion: they sound like the motions of chaos. The band’s creative boundlessness lies with that subscription to entropy — for Chaos Motion, the “death” in death metal comes from their music’s seeming lack of human-imposed direction, almost as if it was machine-generated. This is different from tech-death’s “sterility,” i.e. roboticism, which comes down to simply copying and pasting identical formulas. Here, with Psychological Spasms Cacophony, Chaos Motion create technical death metal’s signature machine-like feel without sterilizing the music altogether; what’s more, this uncaring, unforgiving force feels at once ultra-powerful, more powerful than even death itself, if you want to take the metaphor that far. In any case, this band makes a textbook statement, so to speak, about how to ditch the textbook altogether.

Coffin RotA Monument to the Dead | Blood Harvest Records | Death Metal | United States (Oregon)

Formed in 2017, Portland death metal outfit Coffin Rot have wasted no time in honing the festering OSDM-worship introduced on their two demo releases into the savage, Scandinavian chainsaw horrors of their debut full-length A Monument to the Dead. Aptly titled, the record is a timeless synthesis of various eternal strains of death metal: the muscular surge of first wave Swedeath and grotesque sewer-drenched death-doom ploddings are combined with the blackened tones of early Immolation, and all wrapped together with decidedly thrash-influenced riffs and solos reminiscent of the genre’s prototypical era. Despite its visceral approach, A Monument to the Dead retains an uncanny catchiness while also remaining resolutely committed to the vintage grime that it seeks to channel..

— Thomas Hinds

NecronomiconUnus | Season of Mist | Death Metal | Canada

Necronomicon’s sixth full-length follows a relatively long lineage of releases spanning back to the last millennium. Suffice it to say: this band knows what they’re doing. This doesn’t mean that they’re permanently subscribed to a sound of the past, though — oh no, Unus shines in brilliant modern light just as well as it represents the glory days of yore when straight-out riffing was the name of the game. So, forever riff-centric but timelessly dynamic, the band will land this album as another success for longtime fans, and hopefully a success for new listeners as well who want to dig back in time with this latest release as context.

— Andrew Rothmund

Rank and VileRedistribution of Flesh | Fucked-Up Deathgrind | United States (Oregon)

From Thomas Hinds’ premiere of “Redistribution of Flesh”:

Stripping away all but the most vital elements of these stitched-together genres, Rank and Vile leave nothing but a grisly, slowly liquefying skeleton whose joints grind together torturously, whose bare limbs smash against dungeon walls in hellish agony. Taking a straightforward approach to deathgrind – a death metal compositional style with the ravenous intensity of grindcore – and infusing it with something even heavier, their music returns to the primal source from which the most brutal forms of punk and metal spring forth. Approaching the release of their debut album Redistribution of Flesh, the eponymous track is a tour-de-force of primordial virtuosity and pummeling might.

Holy SerpentEndless | Riding Easy Records | Stoner Doom | Australia

There’s nothing quite like the soaring atmospherics and dreamy, vocal-driven soundscapes of good stoner doom. In an utterly saturated subgenre, Holy Serpent’s second full-length features delicate execution and, above all else, the dynamic of restraint in conducting long-form weed-smokin’ tunes. For 4 a.m. listens while baked to oblivion, Endless is probably just the right choice for a seemingly endless night (and morning).

— Andrew Rothmund


OssuaireDemiers Chants | Sepulchral Productions | Black Metal | Canada

Weaving threads of powerful black metal riffage, saturated blast beats, and void-howls which could strike fear in a demon’s rotted heart, the second full-length from Ossuaire (coming, like, only six months after their debut!) checks off all the necessary boxes. Demiers Chants goes a step further, though, in its simply unrelenting attitude and ferocity. If you find yourself gravitating toward a lot of Canadian black metal, then Ossuaire’s cosmic draw will suck you right in without a moment’s hesitation.

— Andrew Rothmund

XothInterdimensional Invocations | Technical Death Metal | United States (Washington)

From Andrew Rothmund’s premiere of “Back to the Jungle”:

“Back to the Jungle” describes humanity’s retreat to its most primal nature as society crumbles to dust and we’re left with nothing but our dead intellects and thirst for survival even if it means drawing the blood of others. Extremely fitting, both as bespoke narrative but also sly criticism of the world’s descent into dystopia as we approach another decade of a wretched new millennium. All that aside, though, what shines brightest from Xoth’s radiant negative sun are the riffs, the fucking riffs which, for many of Xoth’s tech-death peers, have been too genre-copypasta to really drive too much interest. But Xoth really rips anew, something decidedly fresh without feeling completely alien or experimental, beholden to tech-death’s general sound but not its constriction on innovation. Interdimensional Invocations really bleeds when taken as a monolith rather than a set of individual songs — something extremely rare and good in tech-death — and “Back to the Jungle” is just a slice. That said, the song absolutely slaps, and trust me, just wait until you hear the whole shebang.

The BleedingMorbid Prophecy | World War Now Records | Thrash Metal + Death Metal | United Kingdom

Genre-bending thrash metal outfit The Bleeding return with their second full-length record Morbid Prophecy, the hotly anticipated follow-up to 2017’s acclaimed Rites of Absolution. Regarding the sound of the new album, lead guitarist Tasos explained that “Morbid Prophecy is an aural descent into hell that encapsulates the saga of the fall of man. The themes of desperation, destruction, and death echo through the album in a cacophony of damnation. Man enters the abyss and surrenders to the scale of horror he witnesses. With a ravaged mind he returns to deliver pain and suffering to the unbelievers.” With compelling breakneck compositions and a marked focus on tight performances and crisp production, The Bleeding presents now a truly blistering sophomore effort that expands upon the ferocity of their previous album in many exciting new directions, further defining their own distinctive and sharp approach.

— Thomas Hinds

SarcasmEsoteric Tales of the Unserene | Chaos Records | Death Metal | Sweden

Sarcasm returned from the grave in 2015, and now Esoteric Tales of the Unserene is the Swedish death metal outfit’s third post-reformation album. Expect what you should of semi-old school Swedish death metal, but also know that this album is so much more than just the result of old dogs playing new tricks. There is both modern and historical context to be unpackaged with this release, as well as some certainty that this outfit has no plans on ceasing their deathly onslaught anytime soon. Also, riffs. Lots of riffs.

— Andrew Rothmund

SanctvsMors Aeterna | Sepulchral Productions | Black Metal | Canada

Furious, nihilistic, evil shit from a cosmic hell far beyond our comprehension. No need to say much here, except that listening to Mors Aeterna will scramble your brain and then eat it for breakfast.

— Andrew Rothmund

Came out on Saturday:

CRSThe Collector of Truths | Concerto Records | Death Metal | Mexico

Cirrosis hailed from Ciudad Obregón, a town of over a quarter million people in the heart of the Yaqui Valley in Mexico. After forming way back in 1991, the band released one EP, the inconsistent but spirited Reciclando Desesperación in 1999. This could have been the end of the story but twenty years later the EP has been reissued and the band, remonikered as the abbreviated CRS, has a long-overdue follow-up The Collector of Truths.

The new release offers mostly groove metal – having Kevin Talley (Dying Fetus, Suffocation, Chimaira) do some of the drumming, most notably on the lyric video “Tan Lejos de Dios (Nowhere… But Here),” definitely lends groove bonafides to the proceedings. There are also progressive flourishes such as the break on “Asfixia” and the atmospheric “The Art of Breathing” that border on tech-death, though the tempos remain mid-tempo for the most part.

— Brian O’Neill

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From the Grave: Re-releases and Reissues

RuinHuman Annihilation | Blood Harvest Records | Death Metal | United States (California)

Formed back in 1991 but disbanded later that same year due to various members of the band being incarcerated and institutionalized (yep), American death metal outfit Ruin was among the wave of reemergence from the dark void of the early 1990s to carry on a legacy of grimy, no-holds-barred OSDM. They delivered this follow-up to their debut album Drown in Blood (2017) last year, unleashing a foul cauldron of festering filth and gore true to their vintage style. Picking up exactly where Drown in Blood ended, Human Annihilation delivers pure, unadulterated horror enriched with passages of cosmic doom, crusty tempos, and sudden blasts intended to catch the listener off-guard. Compared with its predecessor, this album dives even deeper into eerie and inhuman soundscapes, endowing the record with a pronounced sense of lurking, haunted dread..

— Thomas Hinds

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