Upcoming Metal Releases: 4/5/26 – 4/11/26

Here are the new releases for April 5th to 11th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 4/5/26 – 4/11/26

Skaphos — The Descent | Les Acteurs de l’Ombre Productions | Death Metal + Black Metal | France (Lyon)

Skaphos’ fourth full-length album adorns the robes of a deep sea leviathan–imposing, frightening, and mind-bending. The Descent is planted firmly in the death metal lane, that of the dense and dissonant variety, though cuts like the title track fold black metal into Skaphos’ murky waters.

–Colin Dempsey

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Astral Spectre — Cosmic Mirage | Independent | Heavy Metal | Germany

Astral Spectre bend time and space to show what it’d sound like if young Judas Priest, Deep Purple, and Venom formed a supergroup. If Cosmic Mirage released in 1978, it’d easily be one of metal’s most influential records. 50 years later, and it’s heavily indebted to its predecessors while being quite inspired in its own right.

–Colin Dempsey

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Immolation — Descent | Nuclear Blast | Death Metal | United States (Yonkers, NY)

Immolation continue to play coy about their access to the Lazarus pit. There’s no way you can be this tight, polished, and invigorated nearly 40 years into your career after releasing the same album a dozen times. They still sound like they’re in their 20s. Descent sounds exactly how you’d expect it to, and that should piss you off if you’ve ever struggled with inconsistency.

–Colin Dempsey

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Vomitory — In Death Throes | Metal Blade Records | Death Metal | Sweden (Karlstad)

Speaking of long-tenured death metal bands, Vomitory are as sharp as ever on their tenth record. In Death Throes is about as measured and adventurous as a greatest hits album, with as few surprises as possible.

–Colin Dempsey

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Paisaunt — Life and Other Horrors | Naturmacht Productions | Black Metal | Finland

Life and Other Horrors, ironically, is dedicated to “living life passionately.” This oxymoron is the record’s engine. Paisaunt’s debut thrives in contrast, like the tension between the optimistic melodies and the harrowing vocals, or the ramshackle production and the lyrics taken from Emily Dickinson and Sara Teasdale, among others. None of it quite makes sense, but that’s the point of absurdism, isn’t it?

–Colin Dempsey

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