I discovered a French band called Svart Crown more than a year ago when I reviewed their second album, Witnessing the Fall. I compared them to a joint venture between Immortal and Immolation. Since then, the band signed with Listenable Records, which put the album into wider distribution. It’s still a damned strong listen.

This morning I saw that the band have released an official video for “Into A Demential Sea”, one of the songs from Witnessing the Fall. To crib from my review (since I’m too fucking lazy to come up with any new phraseology), it’s “almost experimental in its combination of raging guitars, complex drumming, and sharp rhythm breaks that cause the song to trudge with death-doom chord progressions.”

But more importantly, it will trigger the old headbang reflex, which is a reflex that needs to be triggered often, so that you don’t get fixed-neck syndrome, which is a precursor to tight-sphincter complex and stick-up-the-ass disease.

And in other welcome news, an Ulcerate-Svart Crown European tour has been announced for February 2012. I say “welcome” because I’m trying to be happy for our European readers. I myself do not find this news welcome, because, since I can’t go to any of these shows, the news simply makes me jealous and slightly miserable because of my loss. I’m going to console myself by watching this video again. It’s after the big goddamn tour poster which immediately follows the jump. I hope all you Euro motherfuckers are happy.

Is that big enough for all you near-sighted European readers? I’m so bitter now.

Here’s the video:

(Brutalitopia is a great name for a metal blog. If we’d thought of it first, you might be reading “Brutalitopia” right now. But instead of us, two other dudes thought up the name, and they’ve put together some great content to go along with it, too. Check that site now if you never have before (use this link). Today, in response to our appeal for help, Brutalitopia Jack has contributed the following thought-provoking guest post.)

Historically speaking, trends and styles tend to occur in phases. This is certainly true for music, and putting metal under the microscope is a great test of this theory; NWOBHM was the representative blueprint of heavy music in the late 1970s, thrash was the mid-80s, and death metal reigned right around the time Metallica sold out. As for the current era, there’s little doubt that heavier progressive acts have assumed dominion for the foreseeable future.

The intriguing situation with prog, however, is the labyrinthine absorption of various sounds and styles that so conspicuously distinguishes itself in today’s muddled scene. Listeners and critics alike often refer to groups as dissimilar as Opeth and Mastodon as progressive, and no issue is made of it. Some argue that the label “progressive” should be understood less as a genre and more as a descriptor of approach and stylistic ethos, but that’s a discussion for another day. The fact remains that progressive metal is at the forefront and will be for some time.

The logical and fanatical question then becomes this; as we enter the second decade of the new millennium, will the burgeoning progressive metal frontier yield a Big Four like Thrash once did? The short answer (at least to this guy) is no. And that’s only because we’ll simply never see a collective reaction to such a limited number of bands ever again; the digital age makes it impossible for even 40 bands to hold the attention of the whole metal community. But while we likely won’t be able to point at four groups as the unquestioned, paramount torchbearers of metal in the 2010s at the end of the decade, it’s not a futile enterprise to attempt to identify four that could really break into the forefront in the next several years. Essentially, fuck everything I just said and put on your pretending caps.  (more after the jump . . .)

Note: Before we begin, keep in mind that you could argue that all four of these groups are already well established. That’s not the point of our examination here, however; I believe these are four bands that could be at the very top of their game and carrying the torch for extreme music when 2020 rolls around.

THE FACELESS

Sure, The Faceless are already pretty huge. Their debut Akeldama was a sign of good things to come, and I’m know I’m speaking for most when I say Planetary Duality surpassed even the loftiest of expectations. The best part is that it feels as though they haven’t even hit their stride yet. They wield a unique sound, diverse in both it’s sheer heaviness and refreshingly appropriate technicality, and the apocalyptic lyrical and thematic content full of inter-dimensional aliens is just too fucking excellent to pass up.

They’re in the pre-production process of a new record set to release sometime near the end of 2011, and if this isn’t any indication, the bar for their follow-up to Planetary is pretty damn high, but there’s reason to think these dudes haven’t even scratched the surface with their potential.

KYLESA

Another example of a group with plenty of critical acclaim already, Kylesa have entered the forefront as a sludgy-hardcore crossover with a measure of unpredicability. But it’s records like last year’s Spiral Shadow that exhibit how these dudes (and lady) aren’t yet finished with their ascent to the top.

Riddle me this; is there a band better equipped to write an album with more variation and originality than Kylesa right now? Having two drummers and a female vocalist almost makes the answer a resounding “no” by default, but you’d be Vince Neil-stupid to think they’d rest on their laurels going forward. There must be something in the water down in Georgia, as Kylesa will almost certainly join their already established state-mates Baroness and Mastodon as exemplary acts in the crusty, progressive corner of the room.

REVOCATION

I’ve extolled these tech-thrash wizards before, and it bears repeating that this Bostonian troika is poised to grip the collective metal world by the balls and give a them a nice firm twist. And it’s going to feel awesome.

2009′s Existence Is Futile seemed like just a taste of how talented and novel Revocation are, which seems absurd when you recount how it was arguably one of the more diverse and technically intense records of that calendar year. Tracks like “Dismantle the Dictator” perfectly encapsulate how these dudes are able to evoke Megadeth, Morbid Angel and Dillinger Escape Plan in the confines of one track, which is just fucking bewildering when you consider how diverse their sound has become due to a variety of influences. While maybe not a breathe of fresh air to some, Revocation have a sonic profile just begging to be loved by the masses. It’s fast, it’s pissed, and even though it just barely seems to fit in the prog niche, it’s also a lot of fun.

ULCERATE

This choice may seem like a bit of a stretch, and not because these New Zealander’s lack talent or will to head to the top; their brutal death metal brand simply might prove to be too intense or obscure to fully latch on with the masses. And that would be a damn shame, for Ulcerate are arguably already the best at what they do in today’s game.

They bring a level of atmosphere that floats harrowingly over an onslaught that would make Azazel blush, and while their sound and approach is already appreciated and will certainly be accepted more, the only thing hindering Ulcerate’s progress is how their distinctiveness latches on with the greater metal world. 2011′s The Destroyers of All is a step in the right direction, and will likely end up on more than a handful of “Best Of…” lists to end the year (or maybe I’m just dropping a hint…). Ulcerate are just too damn heavy and too damn good to stay unnoticed by the hesh masses for much longer.

… Now, debate the hell out of this. This is in no way meant to be declaratory, and is actually more of a call for discussion than anything. Get to it!

- Jack

(Today, NCS contributor BadWolf reviews the new album by New Zealand’s Ulcerate.)

Give it up for New Zealand’s Ulcerate for knowing how to throw a curveball at me. The band is signed to Willowtip, my go-to label for death metal that has as much Dillinger Escape Plan in the mix as Cannibal Corpse. When I see Willowtip on a CD, I expect winding technical and chaotic riffage (on bass and drums, as well as guitars) to force my skull into a state of rapid decompression. In effect, I fully expect their records to be all experience and no songwriting—in this case the experience of being “that guy” in Scanners.

The Destroyers of All does nothing of the sort. Instead, it bakes its listener to death—a fitting follow-up to their last album, Everything is Fire. The album is in every possible way comparable to a desert, so much so that I want Ulcerate to do the soundtrack to the next stupid adaptation of Dune—this is the sound of wandering sand-worms. The song structures are vast and majestic, and make good use of so-called negative space. The last record burned the earth; this record sifts through the cinders at a leisurely (torturous) pace.

As has been pretty openly stated over at Invisible Oranges, this is a death metal record made by people who like “-post,” metal. That is to say, it has songs with long and irregular structures without refrains or choruses, and a general sense of minimalism.

Full disclosure: I am a filthy, filthy whore for this sort of thing. Neurosis and Isis make me shiver with anticipation when the proper mood strikes. I even like long-form repetitive black metal (Dear Wolves in the Throne Room, play Ohio, you bastards!). Coincidentally, I feel the same way about films with long, majestic shots of deserts. Yes, I am that asshole, and this album seems tailor-made to suit my taste.  (more after the jump, including a track to stream . . .)

That isn’t to say that anything “-post” will slob my knob. I’ll be the first to admit the style has far more misfires than headshots and at least as many talentless imitators as deathcore—but it does hit me critically when it’s well done.

The Destroyers of All is not all post and no punch—not by a long shot. Its greatest strengths harken back to the finer points of the US death metal scene circa early 90’s. The riffage (unmemorable and obtuse here, seemingly by design) recalls the atmosphere, mood and general “sick” feeling that Morbid Angel pioneered.

The sense of melody, however, is more in line with Incantation and Immolation: The emphasis is on dissonant melody and counterpoint. Some might call that wanky, but I call it symphonic, and there you go — that’s why they’re on Willowtip.

The drumming—hello Suffocation—is incredibly technical, and may be the best point in the album’s favor. Formulaic deathcore drumming, meet your nemesis. The cymbal-work here in particular is excellent, displaying a nuanced and wonderful sense of range. The record uses ghost hits, compositionally, the way intense drum and bass does. Surprisingly, the tempo is not constantly slow and doomy—there are several blast beats and quick thrash bits, although they seldom line up with the speedy guitar bits.

The overall effect of this blend of old and new is, especially for death metal, quite subtle. It’s an inspired idea: generic death metal records have repetitive songs that all bleed into one another anyway, The Destroyers of All achieves the same effect, except on purpose. The process is flipped, and the blending becomes part of the dread instead of part of the boring. My inability to find my place in time became an inability to locate myself in the huge space of the record.

There are no individual tracks I can truly speak about; each is so obtuse and so fitted to the others that I can’t imagine listening to any of them out of the album context (this is the big strength of “-post”). The album is so hot, so suffocating and creepy, that it took three listens to get through the whole thing, and I took a sandwich break on that final listen.

To clarify: that’s good.

Suffice to say, The Destroyers of All is a strong release with a good sense of momentum and groove. This record is a unique result of a series of other people’s ideas well-executed. At its best, the album is moody, atmospheric, vicious, and certainly worth a listen or two.

The next time I have a long car or bus ride through, say, Nevada, I know what’s coming up on my iPod.

EDITOR’S NOTE: While being mindful about BadWolf’s injunction against listening to individual songs outside the context of this album as a whole, we can’t resist the impulse to play this one for you.

The forthcoming album from New Zealand’s Ulcerate (their third) has been high on our list of anticipated 2011 releases. It will be called The Destroyers of All, it will be released on January 25 by Willowtip Records, and it’s now available for pre-order here.

The reason for this post is to make you aware (the one or two of you who don’t regularly read MetalSucks) that MS is now featuring an exclusive full-album stream of  The Destroyers of All at this location. I haven’t yet listened to the full stream (chalk it up to something I fondly call “my fucking day job”), but from what I’ve heard so far, it’s a worthy successor to the band’s stunning 2009 album, Everything Is Fire.

One more tidbit on the subject of the new Ulcerate album: The band has made one track from the album — “Dead Oceans” — available for download via its web site. To use a journalistic term of art, it’s good shit.

November is now in our rear-view mirror. December lies ahead of us: A perfectly good stretch of road marred by the speed bumps of the cataclysm that is Christmas. And on the other side of those speed bumps is the end of the year – the roadkill that is New Year’s Eve. And you know what the run-up to year-end brings — year-end lists. It’s already started, but the coming weeks will bring us a slew of Best of 2010 album lists. We’ll probably do our own Best of 2010 list — not the best albums of the year, but, as we did last year, the most infectious extreme metal songs of the year.

But we’re not quite ready to launch that list. Instead, we’re looking off into the future, not backward at the music that’s rattled our skulls over the past year. Yes, it’s time for another monthly installment of METAL IN THE FORGE, in which we cobble together a list of forthcoming new albums, cribbing like rag-gatherers and lint-pickers from PR releases and metal news sites like Blabbermouth in order to construct a line-up of new music that we’re interested in hearing.

All of our previous monthly updates can be found via the “Forthcoming Albums” category link on the right side of our pages, and because we’re not keeping a cumulative list, you might want to check the last couple months of these posts if you want to get a full picture of what’s coming. The list that follows, in alphabetical order, are albums we didn’t know about at the time of our last installment, or updated info about albums we’d previously heard were on the way. After the jump, of course . . .

ADVENT OF BEDLAM: “Costa Rica-based metallers ADVENT OF BEDLAM (formerly DECEMBER’S COLD WINTER) have inked a deal with the Dutch record label Miceli Records. A ‘new version’ of the band’s latest album, Behold The Chaos, will be made available via Miceli in the near future. The CD was recorded at Cavan Studio with producer Gutierrez while the artwork was created by Alex Hoffman of Cypher Visual (BEHEMOTH, PSYCROPTIC, SUFFOCATION, ARSIS, BENEATH THE MASSACRE).”

ALIASES: “ALIASES, the new U.K.-based metal band featuring ex-SIKTH guitarist Pin, guitarist Leah Woodward, drummer Darren Pugh, bassist Joe Heaton and vocalist Jay Berast, has inked a deal with Basick Records. Formed in April 2010, ALIASES set to work on its debut six-track EP and in July put out the rough demo track “We Should Never Have Met”, which was received with an overwhelmingly positive response online. . . . ALIASES‘ as-yet-untitled debut six-track EP will be released on Basick Records in 2011.”

AMON: “Former DEICIDE members Eric Hoffmann (guitar) and Brian Hoffman (guitar) have resurrected their pre-DEICIDE band AMON with Jesse “Jecheal” Jolly (PROMETHEAN HORDE, DIABOLIC, SUCCESS WILL WRITE APOCALYPSE ACROSS THE SKY, AFTER DEATH) on vocals/bass and and Mike Petrak (LEPROSY, SUCCESS WILL WRITE APOCALYPSE ACROSS THE SKY) on drums. The Florida-based quartet will enter RedRoom Recorders in Tampa on December 10 with producer Mark Prator to begin recording its new album, entitled Liar In Wait. The CD will consist of nine songs and will be made available in early 2011 via AMON‘s own record label.”

AMON AMARTH: “Kings of Swedish death metal AMON AMARTH have just announced the title of the their forthcoming album as Surtur Rising. Due out in the spring of 2011, Surtur Rising marks the group’s eighth full-length studio release and undoubtedly one of 2011’s most anticipated albums by fans and critics alike. Surtur Rising is the follow-up to the highly acclaimed 2008 release, Twilight Of The Thunder God, which landed the #7 spot in Revolver Magazine’s Top 20 Albums of 2008.”

ASPHYX: “Reformed Dutch death metal outfit ASPHYX recently entered Sonic Assault studio to record two new songs — a cover version of the MAJESTYclassic “Bestial Vomit” and the new song “We Doom You To Death”. The MAJESTY cover will appear on the upcoming split seven-inch with Dutch death/thrash band THANATOS and will feature lyrics in Dutch dialect while “We Doom You To Death” will be included on a split seven-inch single with Finnish doom/deathsters HOODED MENACE.”

CROWBAR: “Sever The Wicked Hand, the new album from CROWBAR, will be released in Europe on February 14, 2011 via Century Media Records. The CD will be made available in the U.S. on February 8, 2011 through E1 Music. A pre-order is now available on iTunes along with audio samples.”

THE DAMNED THINGS: “THE DAMNED THINGS — the new band featuring members of FALL OUT BOY (Joe Trohman, Andy Hurley), ANTHRAX (Scott Ian, Rob Caggiano) and EVERY TIME I DIE (Keith Buckley, Josh Newton) — will release its debut album, Ironiclast, in North America on December 14 (one day earlier internationally) via Island/Def Jam.”

DIABOLICAL: “Swedish death metal masters DIABOLICAL have signed with Abyss Records for the worldwide release of their upcoming full-length album, Ars Vitae. Due out in February 2011, the CD consists of 17 tracks of both new studio recordings produced earlier this year at Necromorbus Studio (WATAIN, UNANIMATED, DESTRÖYER 666) in Alvik, Sweden and previously unreleased recordings.”

THE FAMINE: “THE FAMINE recently finished recording their new release titled THE ARCHITECTS OF GUILT, with  D. Braxton Henry (Ex- Devourment) and mixed by Jason Suecof (The Black Dahlia Murder, Trivium). The Architects of Guilt is set for a Fall 2010 release through SolidState Records.”

FUCK THE FACTS: “Fuck The Facts have been working on their new full-length and follow-up to their Disgorge, Mexico album and self-released Unnamed EP. The album, titled Die Miserable, is expected to be 9 tracks and roughly 40 minutes in length. Fuck The Facts self-recorded the album that is currently being mixed by Craig Boychuk. Die Miserable will see a spring 2011 release date with additional album details and in-studio footage to be posted soon.”

FULL BLOWN CHAOS: “The new song ‘The Walking Dead’ from the upcoming self-titled release by Full Blown Chaos is now available for streaming at www.myspace.com/fullblownchaos. The album is due out on Ironclad Recordings/Metal Blade Records on February 1, 2011 in North America. The 13 track hard-hitting assault, Full Blown Chaos, will also see releases in Europe on Plastic Head and in Japan on Howling Bull.”

IN FLAMES: “Swedish metallers IN FLAMES have entered their own IF studios in Gothenburg, Sweden with engineer Roberto Laghi (HARDCORE SUPERSTAR, LOK, SONIC SYNDICATE) to begin recording their new album for a tentative May/June 2011 release.”

THE INIQUITY DESCENT: “THE INIQUITY DESCENT, the new extreme-metal project featuring vocalist Mathias “Vreth” Lillmåns of Finnish folk metallers FINNTROLL, will release its debut EP, Trust The Serpent, on November 29. The CD was mastered at Nordic Audio Labs by Sami “Hannu” Koivisto and contains four songs (out of 11 that were recently tracked).”

KORPIKLAANI: “Finnish folk metallers KORPIKLAANI will release their new album, Ukon Wacka, in Europe on February 4, 2011 via Nuclear Blast Records. According to the band, ‘Ukon Wacka’, or ‘Ukon Vakat’, is a pagan sacrificial feast from ancient times, on which a special made beer richly flowed. As can be expected from the title, this album has an ancient and very folky feel and is totally in Finnish.’”

KRIEG: “KRIEG has partnered with Inferna Profundus Records to reissue Patrick Bateman, the band’s definitive black/noise statement from 2003. Based on Bret Easton Ellis‘ nihilistic novel “American Psycho”, Patrick Bateman is close to fifteen minutes of the harshest and most feral material KRIEG ever set to tape. . . . A December 2010 release is expected.”

LIVING SACRIFICE: “Veteran Christian metal act LIVING SACRIFICE has set a November 30 release date for a special iTunes-exclusive deluxe edition of the band’s latest full-length album, The Infinite Order (Solid State Records). The newly expanded version of the CD will contain a 30-minute, eight-song DVD-quality video and three bonus tracks, including the unreleased song“Glasshouses”.”

MACABRE: “Celebrarating their 25th Anniversary of all original members, Chicago’s murder metal pioneers Macabre unleash their brand new studio album entitled Grim Scary Tales in Europe on January 31st, 2011 by Hammerheart Records and in North America on February 8th, 2011 by Willowtip Records. The album explores the history of murder from the earliest times and proceeds forward through the ages.”

MARDUK: “Swedish black metallers MARDUK will celebrate their 20th anniversary by releasing a strictly limited-edition, ‘marvellous box set’ in early 2011. According to the band, ‘This fabulous release will be a monument of the first two decades of MARDUK.’”

OBSCURA: “Obscura has recently completed work on their brand new album Omnivium and has revealed its tracklisting as: “Septuagint”, “Vortex Omnivium”, “Ocean Gateways”, “Euclidean Elements”, “Prismal Dawn”, “Celestial Spheres”, “Velocity”, “A Transcendental Serenade”, and “Aevum”. Omnivium was recorded at Woodshed Studio in southern Germany with engineer V. Santura (Triptykon, Dark Fortress) and is expected to see a March 2011 release date. Additional album details will be announced shortly.”

ONSLAUGHT: “U.K. thrash metal veterans ONSLAUGHT will release a double single, ‘The Sound of Violence’ / ‘Bomber’, on December 17 through AFM Records. The single will include one track from the band’s forthcoming fifth album, Sounds Of Violence, backed with a cover version of the MOTÖRHEAD classic ‘Bomber’.”

ORDOG: “Finnish doom metal band ORDOG will release its third album, Remorse, on January 12, 2011 via Violent Journey Records. The seven-song CD contains over 70 minutes of music.”

THE PROJECT HATE MCMXCIX: “THE PROJECT HATE MCMXCIX — the Swedish band featuring Jörgen Sandström (vocals; VICIOUS ART, KRUX, ex-ENTOMBED, GRAVE), Lord K. Philipson (guitar; TORTURE DIVISION, ex-GOD AMONG INSECTS, HOUSE OF USHER, LEUKEMIA), Anders Bertilsson (guitar; COLDWORKER), Tobben Gustafsson (drums; TORTURE DIVISION, VOMITORY) and Portuguese vocalist Ms. Roque (a.k.a. Ruby Roque of WITCHBREED) — has completed work on its seventh album for an early 2011 release via Season of Mist. The CD was mixed and mastered by Swedish producer and multi-intrumentalist Dan Swanö (EDGE OF SANITY, BLOODBATH, NIGHTINGALE) and will contain six songs with a running time of over 60 minutes.”

RINGS OF SATURN: “Northern California extremists RINGS OF SATURN have inked a deal with Unique Leader Records. The band’s debut album, Embryonic Anomaly, which was originally made available by the band earlier this year, will be re-released on March 1, 2011. The CD was produced, engineered, mixed and mastered by Bob Swanson at Mayhemenness Studios in Sacramento, California and features artwork by Tony Koehl.”

SEPTICFLESH: “Greek extreme metallers SEPTICFLESH have finished recording the follow-up to 2008′s Communion for an early 2011 release. After a long period of intense work in Athens, Prague and Sweden, the evolution of the band’s symphonic death sound has been achieved with the help of the Filmharmonic Orchestra of Prague and well-known producer and PAIN/HYPOCRISY mainman Peter Tägtgren (AMON AMARTH, MARDUK, THERION, CHILDREN OF BODOM, CELTIC FROST, IMMORTAL). 130 musicians were involved in the recording process. Besides the traditional classic orchestra instruments, this time SEPTICFLESH incorporated harpsichord, some bizarre ethnic instruments and a boy soprano to their sound, pursuing a more “horror soundtrack” approach. The release of the forthcoming 10-song album is expected for the first quarter of 2011. In the meantime, a brand new song will be available worldwide as an exclusive digital download single from December 17.”

SEPULTURA: “Brazilian/American thrashers SEPULTURA have tapped Roy Z. (JUDAS PRIEST, HALFORD, BRUCE DICKINSON, HELLOWEEN) to produce their new album, tentatively due in early 2011 via Nuclear Blast Records. The CD will once again be recorded at Trama Studios in São Paulo, Brazil.”

SICKENING: “Italian brutal death metallers SICKENING are currently mixing their second full-length album, Against The Wall Of Pretence, at 16th Cellar Studio in Rome with Stefano Morabito. The CD was recorded in August 2010 at Studio Emme in Florence and is tentatively due in early 2011 via an as-yet-undetermined record label.”

SUIDAKRA: “German melodic folk/death metallers SUIDAKRA will enter Gernhart Studio in Siegburg, Germany on November 30 with producer Martin Buchwalter to begin recording their tenth album, Book Of Dowth, for an early 2011 release. Famous Belgian graphic artist Kris Verwimp will once again be in charge of the cover artwork and lyrical concept.”

THOMAS GILES: “Tommy Rogers, lead vocalist, keyboardist and founding member of the award-winning North Carolina progressive rock band BETWEEN THE BURIED AND ME, will release his debut solo album, Pulse, on February 1, 2011 via Metal Blade Records. The versatile front man and multi-instrumentalist, who not only self-produced the record, but also arranged, composed and played all instruments on the recording, will use the pseudonym THOMAS GILES (his given middle name) as his moniker for the project.”

TRIVIUM: “Florida metallers TRIVIUM will enter Audiohammer Studios in Sanford, Florida on January 2 with the production/mixing team of Colin Richardson (MACHINE HEAD, BULLET FOR MY VALENTINE, SLIPKNOT, FEAR FACTORY) and Martin “Ginge” Ford to begin recording their new album for an early 2011 release via Roadrunner Records.”

ULCERATE: “Ulcerate will release their third full-length album The Destroyers of All on January 25 2011 through Willowtip Records. Ambitious, oppressive and expansive, with a strict adherence to the tradition of total bleakness the band is becoming known for, The Destroyers of All presents the most atmospheric and challenging listen from the band to date.”

UNEARTH: “Massachusetts metallers UNEARTH have tapped KILLSWITCH ENGAGE guitarist and renowned producer Adam Dutkiewicz to helm their next studio album, tentatively due in early 2011 via Metal Blade Records. The pre-production phase of the process officially started last week.”

VARG: “German Viking horde VARG will release its third album, Wolfskult, on February 25, 2011 via NoiseArt Records. The CD was recorded at Andy Classen‘s (LEGION OF THE DAMNED, DEW-SCENTED, NEAERA, ASPHYX) Stage One Studios in Kassel, Germany.”

VREID: “Norwegian band VREID will release its fifth album, simply entitled “V”, on February 7, 2011 via Indie Recordings.”

Another month has passed. Summer is waning. It’s still as hot as the ninth circle of Hell in most parts of our country, but here in the Pacific Northwest, the air is already beginning to feel like fall. And because fall in Seattle lasts about one week, winter is already what we’re thinking about, because winter means getting soaked with rain. In the dark.

Where were we? Oh yeah, another month is over. And here at NCS, that means it’s time for another installment of METAL IN THE FORGE, a forge being the old name for a place where a blacksmith heats metal and works it into the shape of something useful. We thought it sounded literary.

Another name for “forge” is “smithy.” As in, “the blacksmith works in a smithy.” But “smithy” doesn’t sound literary, and METAL IN THE SMITHY just sounds fucked up. METAL IN THE FORGE is a little fucked up, too, the more we think about it, but not as fucked up as METAL IN THE SMITHY.

Where were we? Oh yeah, at the end of every month, we update the list of forthcoming new albums we first posted on January 1. (All the other updates can be found via the “Forthcoming Albums” category link on the right side of our pages.) Below is a list of still more projected new releases we didn’t know about at the time of our previous updates, or updated info about some of the previously noted releases.

Once again, we’ve cobbled together news blurbs about bands whose past work we’ve liked, or who look interesting for other reasons. Perhaps needless to say, these are bands that mostly fit the profile of music we cover on this site — the kind that would like to tear your head off.

So, after the jump, in alphabetical order, you’ll find our list of cut-and-pasted items from various sources since our last update about forthcoming new releases. Look for the bands you like and, if you’re really obsessive like we are, put reminders on your calendar.

ALL THAT REMAINS: “Massachusetts metallers ALL THAT REMAINS will release their fifth album,For We Are Many, on October 12 via Prosthetic Records/Razor & Tie. Songtitles set to appear on the CD include include “For We Are Many”,“Waiting”, and the album’s first single, “Hold On”. The follow-up to 2008′s Overcome“ was produced by KILLSWITCH ENGAGE guitarist Adam Dutkiewicz, who previously helmed ALL THAT REMAINS‘ The Fall of Ideals (2006) and This Darkened Heart (2004) releases.”

ANGRA: “Brazillian metallers ANGRA will release its seventh studio album, Aqua (a Latin word which means “water” in English), in Europe on September 29 and in the U.S. on October 12 via SPV/Steamhammer. A conceptual effort, the follow-up to 2006′s Aurora Consurgens was recorded at Norcal Studios in São Paulo, Brazil.”

AUTOPSY: “U.S. gore legends AUTOPSY will issue the The Tomb Within EP on September 13 through Peaceville Records on CD and 12-inch vinyl, with general release set for September 27. Cover art is supplied by renowned fantasy/horror artist Matt Cavotta.”

BRING ME THE HORIZON: Bring Me the Horizon‘s third album, There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret,will be released on the following dates: Oct. 8 – Germany, Austria, Switzerland; Oct. 4 – Rest Of Europe; Oct. 5 – USA; Oct. 6 – Japan; Oct. 8 – Australia.

DAATH: “Atlanta-based quintet DAATH will release its third, self-titled full-length album on October 26 via Century Media Records. Drummer Kevin Talley (ex-CHIMAIRA, DYING FETUS) began laying down his tracks in Atlanta on June 7 with renowned producer Mark Lewis (ALL THAT REMAINS, TRIVIUM, DEVILDRIVER) and co-producer Eyal Levi (guitar) at the helm. Commented guitarist Emil Werstler: ‘The content is EXTREMELY dark, distraught, and completely honest.’”

HAIL OF BULLETS: “HAIL OF BULLETS — the Dutch death metal band featuring GOREFEST drummer Ed Warby, THANATOS guitarists Stephan Gebédi and Paul Baayens, former PESTILENCE/ASPHYX singer Martin Van Drunen and former HOUWITSER bass player Theo van Eekelen — has set On Divine Winds as the title of its second full-length album, due in North America on October 12 via Metal Blade Records (one day earlier internationally).”

INTRONAUT: “Century Media Records has set an October 12 North American release date for Valley Of Smoke, the sophomore album from Southern California’s INTRONAUT. The follow-up to 2008′s Prehistoricisms was once again produced by Josh Newell (JANE’S ADDICTION) and it features a guest appearance by TOOL bassist Justin Chancellor.”

KYLESA: “Kylesa will release Spiral Shadow, the eagerly anticipated follow-up to their breakthrough album Static Tensions, on October 26 via Season of Mist. Recorded at the Jam Room in Columbia, SC earlier this summer, the eleven-track album was once again produced by band member and renowned producer Phillip Cope (Baroness, Withered).”

MIRROR OF DECEPTION: “Germany’s ‘doom metal kings’ MIRROR OF DECEPTION will release their fourth album, A Smouldering Fire, in October/November via via Cyclone Empire.”

MELECHESH: “The cover artwork for The Epigenesis, the forthcoming fifth album from Sumerian thrashing black metallers MELECHESH . . . was created by the U.K.-based renowned occult artist John Coulthart, who had already collaborated with MELECHESH in the past. . . .  The Epigenesis will be released on October 1 via Nuclear Blast Records.”

NEAERA: “German extreme metallers NEAERA will release their fifth album, Forging The Eclipse, on October 22 via Metal Blade Records. The drum tracks for the album were laid down at Stage One Studio with Andy Classen, while the rest of the recording process was overseen by Alexander Dietz. The mixing/mastering was handled by Tue Madsen (HEAVEN SHALL BURN, DARK TRANQUILLITY, MOONSPELL). The artwork for Forging The Eclipse was created by longtime NEAERA collaborator Terje Johnsen (KEEP OF KALESSIN).”

NECRONAUT: “NECRONAUT, the solo project of former DISMEMBER/CARNAGE drummer Fred Estby, will release its self-titled album on October 18 release via Regain Records. The cover artwork for the CD (see below) was designed by Chat Zar, who was reponsible for creating the prosthetic effects for such movies as “The Ring”, “Planet of the Apes” and “Darkman”.”

PASADENA NAPALM DIVISION: “PASADENA NAPALM DIVISION, the new band featuring members of D.R.I., DEAD HORSE and VERBAL ABUSE, will release its debut EP in September via Abyss Records.”

THE RED SHORE: “Australia’s The Red Shore will release their latest album, The Avarice of Man, in Australia on September 3.”

SOLE REMEDY: “‘Wolf In Me’, the new single from the Lahti, Finland progressive-melancholic metal band SOLE REMEDY, can be streamed using the audio player [at this location]. The song comes off the group’s new album, Apoptosis, which will be released on September 27 via Aftermath Music.”

SOUNDGARDEN: “The reunited SOUNDGARDEN will release a retrospective set, Telephantasm, on September 28. The band states, ‘It includes songs from all of our albums and EPs, including ‘Black Rain’, an unreleased track from the ‘Badmotorfinger’ sessions. Plus, we are releasing our first-ever DVD which will include never-before-seen videos, and much more.’”

SYSTEM DIVIDE: “‘The Apex Doctrine’, the new video from SYSTEM DIVIDE — the extreme modern metal act featuring Sven De Caluwé (ABORTED) and Miri Milman (ex-DISTORTED) on vocals, Cole Martinez (ex-YEARS OF FIRE, ANTENORA) and Joseph Spiller (ex-THE BINARY CODE) on guitars, Andrew Lenthe (ANTENORA) on bass, and Mike Heller (MALIGNANCY) on drums — [has been released]. . . . ‘The Apex Doctrine’ comes off SYSTEM DIVIDE‘s full-length debut, The Conscious Sedation, which is scheduled for a September 14 release via Metal Blade Records.”

TETRAFUSION: “Louisiana-based progressive metallers TETRAFUSION have inked a worldwide deal with Nightmare Records. The band’s sophomore effort, Altered State, will be released on October 26. . . .  TETRAFUSION‘s blend of complex, technical metal blended with a highly-intellectual melodic structure offers an eclectic brand of progressive rock and metal along the likes of PORCUPINE TREE, RUSH, DREAM THEATER, CYNIC, TOOL and MUSE.”

ULCERATE: “New Zealand’s Ulcerate are currently in the studio working on their third full-length album and second for Willowtip titled The Destroyers of All. . . .   Ulcerate’s The Destroyers of All will be available in early 2011.”

[Editor's Note: NO CLEAN SINGING was originally founded by three metalheads who go by the names of Islander, Alexis, and IntoTheDarkness. In this post, IntoTheDarkness tells you a little bit about himself, and below that, Alexis introduces herself. Islander hasn't yet written anything about himself, other than what you can read into what he writes on this site -- and this photo.]

Why is there such a separation within the metal scene? Why is it that if someone likes more than one distinct type of metal, he or she gets ridiculed? For example, if you’re someone who likes both death metal and deathcore, you are suddenly no longer a true metal fan.

It’s even worse if you’re me because I like a wide range of genres that include death metal, tech death, viking metal, folk metal, black metal, prog metal, post hardcore, deathcore, and even the occasional exception to the NCS rule. Not to mention, I do not look the part of virtually any metal scene so I am considered an outsider. Why does it have to be this way? What is wrong with liking both deathcore and death metal? I feel like they both have their pros and cons and which one I prefer to listen to depends largely on my mood. You see, I am a fan of the music itself not the scene that comes with it.

If I could do away with the bumbling douche bag hardcore dancers that think they are badass or the tool who thinks he is all that because he listens to only the classic death metal bands like Cannibal Corpse or Obituary, then I would. In fact,  I think that the metal scene would have not only a larger fan base but more success as well if the metal community would stop passing such harsh judgment on each other. Most of this judgment is passed on the people who like anything with a “core” attached to it.  Most of this judgment occurs because of the scene that is associated with the genre. Much of this scene consists of 15 year old idiots who like to wear uber tight pants combined with artificially straightened hair and eye make up. They must think that having what looks like a mop on top of their heads is some “sick-ass shit.” Regardless, the point is that I do not look anything like that and yet I am still judged for liking some deathcore bands. Why? To most of the population, deathcore is still metal, so what makes deathcore “unmetal” besides the stupid scene that goes along with it?

I believe that people within the metal community should like whatever genre they want to because they like the music and not because of the scene that is associated with that particular genre. Therefore, I thought I would conclude my rant with a list of my top 25 metal bands, in which I will include the genre of each band to show the variation of my tastes. AKA I don’t just like deathcore, unlike most of those scenester kiddies. So without further ado, here it is:

1. Gojira (Death Metal/Groove Metal)-The best band in the universe, bar none.

2. August Burns Red (Melodic Metalcore)

3. Ulcerate (Technical Death Metal)

4. Pelican (Instrumental/Post-Hardcore/Drone)

5. Between The Buried And Me (Progressive/Technical Metalcore)

6. Necrophagist (Technical Death Metal)

7. Swallow The Sun (Melodic Doom Metal

8. All Shall Perish (Deathcore)

9. Animals As Leaders (Experimental Progressive Metal)

10. Gorod (Technical Death Metal)

11. Permillisecond (Technical Death Metal)

12. Whitechapel (Deathcore)

13. Scale The Summit (Progressive Metal)

14. Amon Amarth (Viking Metal)

15. The Faceless (Technical Deathcore)

16. Molotov Solution (Deathcore)

17. Suffocation (Death Metal)

18. Dark Tranquility (Melodic Death Metal)

19. Revocation (Death/Thrash Metal)

20. In The Midst Of Lions (Deathcore)

21. Nile (Brutal Technical Death Metal)

22. Ensiferum (Viking/Folk Metal)

23. Amorphis (Melodic Metal)

24. Behemoth (Blackened Death Metal)

25. Dissection (Black Metal)