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Upcoming Metal Releases: 4/14/19 — 4/20/19

Upcoming Metal Releases

Here are the new (and recent) metal releases for the week of April 14th to April 20th, 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.

Send us your promos (streaming links preferred) to: editors@invisibleoranges.com. Do not send us promo material via social media.

Fractal UniverseRhizomes of Insanity | Metal Blade | Technical Death Metal | France

From the dark nihilistic grandeur of Gorguts to the groovy spiraling madness of Gorod, something about technical death metal and French culture go hand in hand. Hailing from the city of Nancy, French virtuosos Fractal Universe are no exception: presenting the follow-up to 2017’s mind-bendingly advanced prog-tech masterclass Engram of Decline, the group has now put forth Rhizomes of Insanity, ten tracks of even greater majesty and intricacy that will exceed listener’s wildest expectations. Packed with progressive experimentation, spiraling riffs, latticed by impossible rhythmic matrices, and topped off by gorgeous integrated melodic vocals, Fractal Universe have once again proven themselves as one of death metal’s most creatively endowed entities.

— Thomas Hinds

Archaic DecapitatorThe Apothecary EP | Death Metal | United States (Connecticut)

The groovy, melodic new EP from this East Coast quintet is pithy but powerful — its five songs dance through old-school Scandinvaian melodies but with an aggressive, sometimes thrashy twist. Overall, the delivery is extremely smooth (these songs melt into your head instead of blowing it off): the The Apothecary EP lacks nothing in the way of methodically moving rhythms or well-timed speedier moments. Fans of both European and American melodic death metal will enjoy Archaic Decapitator’s signature blend.

Dawn of DemiseInto the Depths of Veracity | Unique Leader | Death Metal | Denmark

Danish death metal stalwarts Dawn of Demise have once again returned to our mortal realm to reap the unassuming souls of the living through the old-school brutal death vortex that is their fifth full-length album Into the Depths of Veracity. Consistent as ever, the record contains no shortage of the savage yet tasteful slams, breakdowns, and demonically guttural vocals that fans of the group have come to expect, but with more panache and razor-edged polish than ever before. Deftly transitioning between chugged mosh-pit anthems and whirlwind double-bass bedlam, Dawn of Demise have taken a decided step forward in musicianship and ability without abandoning their signature brand of brutality.

— Thomas Hinds

Haze MageChronicles | Grimoire Records | Stoner Doom + Stoner Rock | United States (Maryland)

Bubbling up from the grimy streets of Baltimore, the cannabis-infused tones of epic stoner warriors Haze Mage have found corporeality in the form of the group’s first full-length record Chronicles, a grand conjuration of weedian mythology and fuzz-laden classic rock jams. Juxtaposing vintage 1970s psych sensibilities against the intrepid vigor of modern doom riffage, Chronicles consummates with soaring baritone vocals reminiscent of Glen Danzing himself, creating a nostalgically familiar yet wholly contemporary interpretation of stoner rock meets classic heavy metal.

— Thomas Hinds

Cosmic PutrefactionAt the Threshold of the Greatest Chasm | I, Voidhanger | Death Metal | Italy + Australia

From my premiere of “The Ancient Demagogue”:

Cosmic Putrefaction comprises multi-instrumentalist G.G. with guest stars Brendan Sloan (Convulsing) tackling main vocals and XN (Hadit) rounding out At the Threshold of the Greatest Chasm with his own hellbound vocal performance on the fourth track. As “The Ancient Demagogue” showcases, the G.G./Sloan duo meshes with unusual aplomb and ferocity: from G.G.’s boundless and mind-melting riffage to Sloan’s horrific barks, this is death metal both deconstructed and reconstructed. The musicianship/technicality is present for sure, but embedded behind the album’s dark ethos and raunchy grit, not distracting anyone from death metal’s profound emotional potential made real right here.

AllegaeonApoptosis | Metal Blade | Technical Death Metal | United States (Colorado)

From Thomas’s interview with founding member Greg Burgess:

Is there anything in particular you added or experimented with that hasn’t been in your sound before? Anything new that you tried?

 

Speaking for myself: I’m a classical guitarist, that’s kind of my background, and then I just fell in a band, know what I mean? That’s always what I wanted to do, but my background of study is classical guitar. We hit that a little bit last time with “Grey Matter,” when I really had it be a huge part of a metal song. Usually before it’s been interludes or a solo here and there, but with that one I tried to put it in as a major part, and it hit really well. Just trying to find my way — everyone’s life is a journey, so for me it’s been finding or asking myself “what’s my identity within metal?” Because we’ve been doing this so long, and whereas the band has been getting bigger, it has been a very painful struggle. I guess for me it would help my own personal, uh [laughs], to help define me, to have some sense of self, to tell myself “I want to be a classical guitar player that plays in a metal band,” that was kinda my thing.

L’AcéphaleL’Acéphale | Eisenwald | Black Metal | United States (Oregon)

From Brian O’Neill’s full premiere of L’Acéphale and interview with project mastermind Set Sothis Nox La:

The album is textured and definitely avant-garde however it retains accessibility even within relatively unorthodox and experimental passages (“Sleep” especially uses both extremes to great effect). Is that a goal or just how it turns out once everyone contributes?

 

My desire is to create music that covers a range of black metal, dark folk, avant garde noise, and musique concrète. The range of styles is the goal from the outset. We also consider this when compiling songs together for a release. A lot of the textures within a piece come from all the contributions of the band, developing and recording each piece.

I find it hard to comment on the accessibility of the record. We write music without thinking about what people will think of it. We focus on the individual songs themselves and then the larger spectrum of how the songs fit together. I do like to offset textures and styles as much as I like to think about interesting and unusual textures to include in the material as well. I like the interplay of tension and release that comes with mixing different styles and riffs within a composition. “Sleep” is a song that was built out of a cerebral concept specifically; to explore contrasting textures matched to a lyrical concept.

Dead to a Dying WorldElegy | Profound Lore | Black Metal | United States (Texas)

From Jenna’s premiere of “Empty Hands, Hollow Hymns” and interview with guitarists Sean Mehl and James Magruder:

I understand Elegy looks at inadvertent self-extinction. Is there a certain world event or climate that inspired the exploration of this topic?

 

James: I mean we’re pretty much fucked right? Climate change, Trump-Le Pen-Corbyn, distribution of wealth, inevitable water wars, the proliferation of nuclear weapons. Things are going to come to a head this century. It will get existentially ugly for life itself. What good has humanity done for the planet? The universe doesn’t care if we ruin things. We are an evolutionary anomaly. We’ve placed ourselves beyond nature. Maybe the just thing to do is to turn the planet back over to the natural balance, without us.

Sean: Part of what draws me in so much with the concept behind Elegy is the honest and simultaneous reflection both inward and outward. Eternally we grieve for the dying world, and internally for our own loss of humanity.

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