Metal 338 Items

Los Angeles-based dark melodic metal outfit Witherfall proudly presents their fourth full-length, “Sounds Of The Forgotten”, via DeathWave Records. With predecessor "Curse Of Autumn" garnering high praise in Metal Insider, Deaf Forever, and KNAC.com, as well as admirable positions on Germany’s Top 20 Albums chart and Billboard’s Top New Artist Albums and Billboard 100 chart, “Sounds Of The Forgotten" advances Witherfall to legendary status with its epic, foreboding expanse. The album is supported by an ambitious schedule of seven singles, each with an official video linking the album’s story of heartbreak, anger, and tenacity. This is genuinely Witherfall, always willing to go the extra mile to outclass the past.

Witherfall was formed in Los Angeles in 2013. Joseph Michael (also of Sanctuary fame) and Jake Dreyer (ex-Iced Earth/Demons & Wizards) built their new band around drummer Adam Sagan (rip) and accomplished bassist Anthony Crawford (Allan Holdsworth, Chon). Since then, the group have released three highly regarded albums: "Nocturnes And Requiems" (2017), "A Prelude To Sorrow" (2018), and "Curse Of Autumn" (2021) and an EP "Vintage" (2019). Not one to cut corners, Witherfall enlisted famed drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess) on "Curse Of Autumn", ensuring the foundations of singles 'As I Lie Awake', 'The Other Side Of Fear', and 'The River' were second to none. On "Sounds Of The Forgotten", Minnemann returns to the fold with an album-only appearance, while drummer Chris Tsaganeas (Wax Owls) and multi-instrumentalist Gerry Hirschfeld (Willie Nelson) Witherfall’s newest permanent members.

Every Witherfall album is a defining moment. From the moment "Nocturnes And Requiems" thundered across metaldom to the group’s wine endeavours (Tempest Red Blend) with Charlie & Echo Winery, their video collaboration with Cig Neutron (Devil’s Workshop) on 'The Other Side Of Fear', a beer partnership with Adroit Theory Brewing Company (Shadows Black Ipa), and custom Funko Pop set, Michael and Dreyer have made Witherfall their mission. The journey to this point hasn’t been without toil and upheaval. Determination, however, is the key. Today, Witherfall brings “Sounds Of The Forgotten" to the masses. Experience it all with them.

Limited Edition 200 Pc Pressing, 140g vinyl, 2 panel lyric insert, Latest album from Vindicator, The band continues to play and tour in the US, For fans of Testament, Exodus, Anthrax, Toxic Holocaust, Havok, Warbringer, Lazarus A.D, Voivod, Megadeth

American one-man nuclear black industrial weapon Uranium returns, transmuted into its most astonishing and terrifying form yet. A statement of unseen magnitude and scope, the second full length album Pure Nuclear Death sees the enigmatic East Coast visionary harness a realm of terror and death-torn sonic immensity rarely, if ever, seen before in this plane of reality. Clear from the title alone, Pure Nuclear Death embodies the triumph, definition and consecration of a vision and concept which in the span of a just a couple of years and releases so far has already become classic and by all standards and measures, simply unrivaled. Awe-inducing, imposing and inexorably devastating, Pure Nuclear Death comprises thirty six minutes, split up into five tracks, of omnipotent, death-heaving black industrial immensity designed to devour the listener and deliver to them a world-ending payload of absolute death. The legacy of bludgeoning, visionary post-industrial acts like Godflesh and early (Cop, Filth-era) Swans transposed into total oblivion and coerced into a monstrous, lightless abyss of tectonic and crushing blackened electronics. An antihuman concept on nuclear energy and its most godly and terrifying traits incarnated in a sound which is its perfectly executed and envisioned embodiment. An indissoluble fusion reaction between a concept extrapolated from science, ethical literature and philosophy to convey realities of daunting scientific an technological darkness, and a god-like sound assembled from a critical mass of cataclysmic power electronics, apocalyptic industrial and black metal chained together into an otherworldldly sonic weapon of absolute atomic death.

Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style.

Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records.

Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it.

Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style.

Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records.

Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it.

Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style.

Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records.

Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it.

Tamás Kátai has a vision that extends far beyond his native Hungary, but Thy Catafalque’s twelfth album is tied to the past in more ways than one. Whereas his previous album returned to the heavier days of Thy Catafalque, XII takes Kátai on a more figurative journey. The album unfolds like a dark night of the soul, whisked away by the dreamy-yet-haunting opener “Piros kocsi, fekete éj”. “Run with me, life / Whisper the tales”, Attila Bakos sings in Hungarian. His cleans soar over the airwaves, reappearing with ease 15 years after he first joined Thy Catafalque for the project’s underground breakout Róka Hasa Rádió. More old friends join Kátai on this journey. A gyönyörű álmok ezután jönnek features 20+ guest musicians, including familiar faces from inside and outside of the Hungarian metal scene. Violins, cello and clarinet bring the comforts of home. Still, the road can be quite harsh. “Mindenevő” is consumed with humanity’s self-destructive appetite, fueled by mechanized blast beats and distorted downpicking that recalls the fiery black metal from which Thy Catafalque was originally forged in 1998. Hungarian history looms behind the album’s most crushing moments. The coal blackened chugger “Vasgyár” is named after the rusted-out ironworks that once fueled the country’s economy. In the video for the album’s title track and lead single, Kátai runs through not only his hometown but surreal scenes from past and present issues that lie beneath the surface of the countryside. But his flair for the avant-garde still shines like the dawn. The synth's minor key melody glows with the faint but familiar reassurance that the beautiful dreams are yet to come. 1. Piros Kocsi, Fekete Éj 2. Mindenevö 3. Vasgyár 4. Világnak Világa 5. Nyárfa, Nyírfa 6. Lydiához 7. Vakond 8. Ködkiraly 9. Aláhullás 10. A Gyönyörü Álmok Ezután Jönnek

Tamás Kátai has a vision that extends far beyond his native Hungary, but Thy Catafalque’s twelfth album is tied to the past in more ways than one. Whereas his previous album returned to the heavier days of Thy Catafalque, XII takes Kátai on a more figurative journey. The album unfolds like a dark night of the soul, whisked away by the dreamy-yet-haunting opener “Piros kocsi, fekete éj”. “Run with me, life / Whisper the tales”, Attila Bakos sings in Hungarian. His cleans soar over the airwaves, reappearing with ease 15 years after he first joined Thy Catafalque for the project’s underground breakout Róka Hasa Rádió. More old friends join Kátai on this journey. A gyönyörű álmok ezután jönnek features 20+ guest musicians, including familiar faces from inside and outside of the Hungarian metal scene. Violins, cello and clarinet bring the comforts of home. Still, the road can be quite harsh. “Mindenevő” is consumed with humanity’s self-destructive appetite, fueled by mechanized blast beats and distorted downpicking that recalls the fiery black metal from which Thy Catafalque was originally forged in 1998. Hungarian history looms behind the album’s most crushing moments. The coal blackened chugger “Vasgyár” is named after the rusted-out ironworks that once fueled the country’s economy. In the video for the album’s title track and lead single, Kátai runs through not only his hometown but surreal scenes from past and present issues that lie beneath the surface of the countryside. But his flair for the avant-garde still shines like the dawn. The synth's minor key melody glows with the faint but familiar reassurance that the beautiful dreams are yet to come. 1. Piros Kocsi, Fekete Éj 2. Mindenevö 3. Vasgyár 4. Világnak Világa 5. Nyárfa, Nyírfa 6. Lydiához 7. Vakond 8. Ködkiraly 9. Aláhullás 10. A Gyönyörü Álmok Ezután Jönnek

The Gates of Slumber return with a new album out in November on Svart Records

“I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024

Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011.

The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon.

After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic.

Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet.

The Gates of Slumber return with a new album out in November on Svart Records

“I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024

Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011.

The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon.

After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic.

Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion. The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion. The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

Sordide comes from the wet gutters of Rouen, Normandy. Since the release of its debut album through Avantgarde, back in 2014, the trio has been spitting a scornful and desperate anger in Moliere’s language under the motto NEITHER NAME, NOR FLAG. Since then, the band has multiplied albums culminating with the release of “Les idées blanche”, in 2021, and played throughout Europe and at Roadburn and Hellfest festivals. After travelling to Iceland and Finland, Sordide will release its fifth full-length, “Ainsi finit lejour”, through Les Acteurs de l'ombre, and its own collective, La Harelle. To present this abrasive opus, Sordide will tour in France, Switzerland and Belgium in October 2024, and in Europe in February 2025. 1. Des feux plus forts2. Nos cendres et nos râles3. Le cambouis et le carmin4. Sous vivre5. Banlieues rouges6. La poésie du caniveau7. Ainsi finit le jour8. La beauté du désastre9. Tout est à la mort