Here are the new releases for July 12th to 18th. Releases reflect proposed North American scheduling, if available.
Upcoming Metal Releases: 7/12/26 – 7/18/26
Äxe — Autogeddon |
Caligari Records | Speed Metal + Black Metal | United Kingdom (London, England)
With the umlaut on the A, seemingly just for the sake of it, and band members named Professor Speed and Nihil Kaos, Äxe isn’t afraid to embrace the cheese. Their fast-paced thrills embody a motorcycle-riding knight lopping the heads off demons to make a necklace out of. On their debut demo from last year,
Warriors of the Death Raid, Äxe often felt like speed metal with black metal vocals. Not on the follow-up. The first notes of
Autogeddon‘s lead single, “Warriors of the Death Raid” (sound familiar?), are much darker with raw screams that sound trapped in a car engine. Over six minutes long, the song dedicates time to both an enthusiastic guitar solo and a depressing outro of shrill chords. This surprising pairing of nocturnal and exuberant genres is captured perfectly within the raw black metal vocals that spontaneously burst into high-pitched wails resembling a baby falling from a window. 34 minutes of merciless metal that digs its fangs in your neck and shreds your innards – metal that makes the most lubugrious listeners dance to its punk pace. The band’s second demo informs listeners that the äxe’s edge is sharpened.
–Aidan Sibley
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Emptiness — Nowhere Speaks |
Season of Mist | Avant-garde Death Metal | Belgium (Brussels)
Try to recall your last dream. Maybe elements of it appear to you, incoherent dialogues and movements that felt unnatural. A world so close to reality with abnormalities that make it unnerving.
Nowhere Speaks is like a memorable dream of death metal. A revisitable dream. Emptiness retains small elements of death metal but creates a disorienting world from them. Blast beats and dissonance are found throughout but cloaked in a production that rarely lets it explode. The record looms, builds atmosphere, and drags you into rooms with an ever-shifting axis of gravity. The pull of guitar production and booming bass lifts you into the air as furniture blows past your head.
12 years ago, Emptiness finished their album
Nothing but the Whole on a riff which suddenly stopped, baffling their listeners. With two albums in between, which softened their sound and abandoned metal,
Nowhere Speaks begins on the continuation of that heavy riff. Returned is the abstract phraseology and pronunciation: lyrics growled in a whisper are spoken with random breaks and drawls. Lyrics like, “The body is nourished and the mind twists like an arm. The arm of a child that I hated when life was young.” With sinister synths and sound collages where human and animal sounds become inseparable,
Nowhere Speaks brings you to a realm of ludicrousness. Then it ends as
Nothing but the Whole did, suddenly within the riff which started that album, morphing the two into an endless loop.
–Aidan Sibley
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Psycroptic — The Pulse of Annihilation |
Metal Blade Records | Technical Death Metal | Australia (Tasmania)
Tasmanian death metal dervishes, Psycroptic, are back on the scene with
The Pulse of Annihilation. The new record is the veteran Aussie crew’s Metal Blade debut. Interestingly, the label
touted Psycroptic’s evolution from “pure technical density into something more architecturally deliberate.” That’s a pretty fascinating way to describe The Pulse of Annihilation. Guitarist and principal songwriter Joe Haley views it simply as the “culmination of everything that has come before.” Either way, it’s hard to deny the tangled knot of razor wire riffs, roiling battering ram percussion and emphatic dual vocal onslaught unleashed within tracks like “Gathering a Venomous Herd,” “No Time for the Weak” and “To Embrace the Curse.” The decimating twin growl attack from Jason’s Keyser and Peppiatt definitely adds an extra layer of mass to Psycroptic’s clinical assault. The haunting ambient passage at the beginning of “Our Pillars Fall” is another nice touch amidst the grinding, mathematical din. As Henry Rollins once yelled: Annihilate. What could possibly go wrong?
–Dennis J. Seese
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Niveous — Cult of the Void Star |
Hypnotic Dirge Records | Black Metal | United States (Milwaukee, WI)
Niveous didn’t get the memo that black metal isn’t meant to be enjoyable. Their debut album
Cult of the Void Star is fantastical, as if Immortal held back on the thrash but kept the worldbuilding on
At the Heart of Winter. Similarly, Niveous keep their distance from misanthropy and err towards the epic, with “Frostborne Resistance” boasting particularly engaging folk metal vocals.
–Colin Dempsey
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Wehmut — IV: Sommer |
Naturmacht Productions | Blackgaze | Germany (Bavaria)
Wehmut incorporates post-rock, shoegaze, and DSBM with a reservation that’s unbecoming of blackgaze. What optimism there is feels tainted and sick, demonstrated through trances rather than biting riffs. This is all to say, Wehmut does more than play into stereotypes, despite the reverb-encrusted tremolo picking and floral album cover.
–Colin Dempsey
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Supremative / Crucifixation — Schism of Demonic Intolerance / Reveling In Sin |
Down With the Most High | Death Metal + Black Metal | Spain + United States
Both sides of
Schism of Demonic Intolerance / Reveling In Sin sound like burning embalming fluid in your ears, which is to say, primitive death and black metal, or, in other terms, war metal, albeit a strain that hasn’t seen the light or evolved since 1990. Supremative embody that genre hybrid more fully, whereas Crucifixation are less tactful, charmingly laying death metal barks atop musicianship that can’t decide which Sepultura album is its favorite.
–Colin Dempsey
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