Upcoming Metal Releases: 11/24/19 -- 11/30/19

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Here are the new (and recent) metal releases for the week of November 24th to November 30th, 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: [email protected]. Do not send us promo material via social media.

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Cattle Decapitation — Death Atlas | Metal Blade | Death Metal | United States (California)

It’s been 20+ years for Cattle Decapitation, and they still know how to write killer, modern death metal albums. Death Atlas is no exception; musically, it’s just about perfect. The only sticking point with fans will be the sung (versus screamed) vocals, which were also featured on 2015’s The Anthropocene Extinction albeit less prominently. While this singing style might add dynamic to Cattle Decapitation’s already-honed edge, they imbue a softness which might not mesh well, for some listeners, with the death-hammer riffing and bombastic double-bass blasts and whatnot. Personally, Death Atlas feels to me technically superior, but overall a bit less exciting than their previous.

— Andrew Rothmund

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Öxxö Xööx — Ÿ | Blood Music | ??? | France

If you’ve never checked out French anomaly Öxxö Xööx, now’s the perfect time: the follow-up to their exceedingly eccentric 2015 release Nämïdäë is now here. What makes many bands interesting are well-written vocals, for sure; what makes this band even more interesting is that they invented their own language in which to write their lyrics. Beyond that, the music can only be described in terms of art-house cinematics and intensities; Öxxö Xööx might be grounded in doom’s pacing and general slow burn, but that’s just one of a few things non-idiosyncratic about this band.

— Andrew Rothmund

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Red Death — Sickness Divine | Century Media | Thrash Metal | United States (Washington D.C.)

Red Death has been a staple of the crossover thrash revival for a while now, and with their third album (and first for Century Media) Sickness Divine, they’re starting to branch out a little bit. The band still has plenty of their usual crossover rippers, but they also take some notes from mid/late-1980s Metallica and veer into slower, more melodic forms of thrash. And, album closer “Exhalation of Decay” is nearly in Swans territory. They also tack on a killer cover of “Death Comes Ripping” by Metallica’s beloved Misfits as a bonus track. It’s as worthy as the originals, and it reminds you Red Death haven’t abandoned their punk roots.

— Andrew Sacher

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Sentient Horror — Morbid Realms | Redefining Darkness | Death Metal | United States (New Jersey)

The HM-2 sound continues to rage forward, and unabashedly so. It doesn’t bother me — that sandy, fizzy, but thickened distortion which turns guitars into buzzsaws — but some death metal fans aren’t so hot on it. Wherever you land, it’s still difficult to deny that Sentient Horror fucking rip, now with extra skull-stomping power on their latest release, Morbid Realms. If any band has nailed this particular strain of death metal without being too hyperbolic with the sound, it’s this one. Morbid Realms is surprisingly balanced and easy to digest even considering its immense weight.

— Andrew Rothmund

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Teeth — The Curse of Entropy | Translation Loss Records | Death Metal + Grindcore | United States (California)

Fucking nasty, downright utter filth. Caustic vibes, maniacal energy, and mind-altering cover art comprise this spew. This is some malignant shit. You should definitely listen.

— Andrew Rothmund

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Sartegos — O Sangue da Noite | I, Voidhanger + Blood Harvest Records | Black Metal | Spain

Sartegos writes compromising, mid-paced black metal with an affinity for the second wave, but sans adherence to it. A desperately post-modern yet classic-feeling debut, O Sangue da Noite‘s hallmark is the presence of some truly underworld death-growls which contrast the visceral shrieks of genre peers. There’s an orchestral quality to this album too, with grand sequences emerging in and out of a quiet void; I’ve come to expect this level of quality from both of the labels handling this release, and this band solidifies that expectation with certainty.

— Andrew Rothmund

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Tragediens Trone — Tragediens Trone | Osmose Productions | Black Metal | Norway

Formed more than a decade ago, but just now releasing this self-titled debut, Norway’s Tragediens Trone is about as ice-cold as they come. The wait was worth it, with this seven-track beast spewing high-end atmospherics and riffing at you for its entire runtime. What I appreciate especially about Tragediens Trone is the atmosphere’s thickness despite it remaining sharp and acute; this is the type of black metal album you let sink into you, not the other way around.

— Andrew Rothmund

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Sun of the Dying — The Earth is Silent | Art of Propaganda Records | Death Metal + Doom Metal | Spain

Grandiose, epic-scale death-doom from Spain. Sun of the Dying capture as much woe and sullen despair as possible, funneling it through slow, doom-ridden dirges and faster (albeit still pretty plodding) accelerations of death metal. The Earth is Silent is tinged with the feeling that it could even be a movie score of sorts, and what a movie it would certainly be. The band eschews some outright brutality for the purpose of expanding their palette and even injecting some post-metal into the mix. Works for me.

— Andrew Rothmund

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Prong — Age of Defiance EP | Steamhammer | Groove + Thrash Metal | United States (New York)

Here’s some new Prong for you, if they’re your thing.

— Andrew Rothmund

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Reveal! — Scissorgod | Sepulchral Voice Records | Death Metal + Rock | Sweden

Super-weird, super-interesting death-rock from Sweden. Not what you’re expecting, either. The combination of angular and obtuse riffing, drum-slamming, and death cries/growls makes Scissorgod an unusual album; these things don’t stop it from bumping along with some dark, twisted groove, though.

— Andrew Rothmund

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