News: MetalBite's Top 10 Albums of the Month - July 2026 : MetalBite

MetalBite's Top 10 Albums of the Month - July 2026

July - Top 10

Welcome back to MetalBite's Top 10 Albums of the month! We're back behind the 8 ball again, now almost a full month behind as life's responsibilities wait for no one. But you don't care about that, do you? You're just looking to quench your ceaseless thirst for new metal albums. Why do you torture us so?

…just kidding. Thanks for being here, sorry for the delay. Here's some riffs.

-Nate

HONORABLE MENTIONS

Dysgnostic - End Whispers
Transcending Obscurity

Where a lot of dissodeath bands tend to be snaking, indirect and cultivate atmosphere via slow burn and a perpetual build that never fully reveals itself, Dysgnotic is boisterous, direct and aggressive. At first I wondered why this album hit different, despite being functionally identical to most other dissonant death metal you've heard - then I saw they are from Denmark. I swear, it doesn't matter the style, Danish bands are naturally just full of bravado and have a certain immediacy. They bludgeon you right away and are always fun to listen to, even when they're in a genre like this that is more often endured than enjoyed.
-Nate

Metaladian - Deaditation
Independent

The main draw here is the vocals, which are an overlapping mix of a variety of shrieks and growls that feels like a cacophony of hallucinations all fighting for your attention. The base style employed is like nothing else I've ever heard - it's like very controlled DSBM wailing that changes pitch in a way that would feel melodic if it wasn't caked in distortion. Like, you can feel the vocals going up and down in pitch, but no actual note comes out the other side - they even "harmonize" sometimes, but it's still nowhere close to clean singing. I'm not sure who in the band it is, but apparently someone involved in this project has a PhD in something music related (composition? Theory? Who knows) which explains how they've crafted something so striking and unique.

Admittedly, the instrumentals are buried in the mix and it's hard to make out what's going on - I can tell there's some interesting stuff happening in the dissonant/prog death realm - I hear a dash of Gorguts and Deathspell Omega - but the impact is muffled by the plethora of duelling voices. That being said, the vocals alone make this worth a listen out of curiosity, I can guarantee you they will defy expectations.
-Nate

Escumergament - Apparebat Eidolon Senex
Avantgarde Music

Though shrouded in mystery, this Swedish project features members of well established bands like Setherial and Bergraven, which helps explains how they have such a refined and alluring sound that seemingly emerged out of nothing. They draw you in with strong musicianship and a keen ear for melody, then immerse you in a world that feels like a fever dream a few hairs removed from base reality. It's creepy and feels somewhat…off, like you woke up and it mostly feels like a normal day, but people move differently, the sky is a different shade of blue and every now and then someone says something that you've never heard before. At its best, black metal is fantastical and mystical in spite of its minimalism (perhaps even because of it) and Escumergament toes the delicate balance of transporting you to a different realm while still using black metal's conventional building blocks.
-Nate

Nothingness - Godslaughter
Everlasting Spew

"Supraliminal" was high on my AOTY list of its year, so this came with fairly high expectations. There aren't any major changes to note - this is still the same band that cranks out a steady supply of knuckle-dragging riffwork with a surprising degree of nuance beneath the surface. The mixing job is first rate - guitar tone is super thick and prickly, but retains a rawness that makes it hit like a cinderblock. I can't really call this OSDM (even though Autopsy fans will love it) but it's a bit more intricate than Sangusugabogg or even Undeath, - but again, anyone into those is going to get some mileage out of it. It's smart music for dumb people - or maybe it's dumb music for smart people? Whatever way you wanna slice it, the important takeaway is that Nothingness slaps.
-Nate

Volubilis - Theasterion
Independent

The production here is thin and janky - the drums lose some definition, the bass is too gravelly for my liking - but the music is a breath of fresh air. Volubilis approach technical death metal through an uplifting, ethereal lens, but in a more jagged, riff-focused manner than bands like Fallujah or even Beyond Creation (though there are traces of both bands present). I get a bit of a late 00s tech deathcore vibe a la Conducting from the Grave or early Inferi. There are also tons of additional instruments and proggy diversions woven in effectively that keep you on your toes.

Though a bit rough around the edges, "Theasterion" has good bones, and it's clear the respective members know their way around their instruments. Sometimes tech stuff can feel samey, even to a fanboy like myself - but the level of detail and care in these compositions is apparent, and it really helps this stand out.
-Nate

Apogean - Waste Where Life Begins
The Artisan Era

Even though I knew the shift in direction was coming ahead of time, it still felt jarring when hearing it on record. "Waste Where Life Begins" takes a less overly technical approach. Though they obviously didn't get worse at their instruments, there's a sense of blackened minimalism that takes root, and the overt Zenith Passage references have been all but removed. Filling the empty space is a more intentional songwriting approach - the peaks and valleys are easier to latch onto, and the clarity and enunciation in Mac Smith's voice is commanding and almost warlike. It took me a little bit to fully reckon with the stylistic shift, but with every subsequent listen I get a little more on board.
-Nate

Mortem - Mørketid
Peaceville Records

Here we go with another cool symphonic black metal release this year. After fabulous releases by Stormkeep and Worm it's now time for the Norwegians to show their skills. With seasoned musicians on board, they give a compelling performance. Musically you can hear a lot of early 90s black metal influences such as Arcturus, Emperor or Dimmu Borgir woven into thrilling, entertaining pieces. "Mørketid" never gets boring and throws you back into a time free of AI slop.
-Michael

Sojourner - Gateways
Avantgarde Music

Summoning gets brought up frequently as a comparable to this - maybe because they both have fantasy themed lyrics? I don't really hear it otherwise, to me this is like if Nightwish was a black metal band. The symphonic element is layered in so thoroughly that it becomes the main feature, even though extreme metal is clearly the base ingredient. Perhaps the consistently triumphant vibe of "Gateways" is part of it, but there was always a darker uncertainty to Summoning - they are more of a rallying cry to get the troops ready for battle, whereas Sojourner is the victory parade. It's just so damn cheerful all the time, and while I will admit I'm not always in the mood for it, it does work shockingly well.

The clean vocals are rich and resonant, and although they overlap with the harsh vocals quite frequently, that doesn't get on my nerves nearly as much as it usually does. A song like the closer "The Road Ahead" has more sap than a Canadian forest, but it's also a standout track. Paradoxically, the styles on this album I'm least familiar with are the ones I enjoy the most. As such, this is worth a listen for Sonata Arctica and Avantasia fans as much as those into Saor and Caladan Brood - perhaps even more so.
-Nate

METALBITE'S TOP 10 ALBUMS OF THE MONTH

Sallow Moth - Hydrophilous Brood

10: Sallow Moth - Hydrophilous Brood
Willowtip

Garry Brents is far from a household name, but for two decades now he's cultivated a prolific, eclectic oeuvre. Some cursory digging reveals he's the artist behind Semen Across Lips, a band with far more sophistication than the ridiculous name suggests. I'll give the name credit for being memorable, but it definitely doesn't fit the bizarre, mutli-faceted genre bending sound.

Sallow Moth is a markedly different entity, but some familiarity with Brents' past projects if helpful to understand how "Hydrophilous Brood" can sound so alien and unusual, yet compositionally smooth. This guy makes weird, hard to pin down music with 200 riff ideas per song. There are frequent parallels to Artificial Brain, in both the riff style, and the gurgly low vocals reminiscent of Will Smith, the linear, everchanging song structures mixed with sudden ethereal guitar bits and active, dominant basswork is like Cynic covering Disgorge. But even those comparisons feel tenuous because this genuinely doesn't sound like anything I've heard before. Maybe it's because it's the first album of theirs I've heard, but there's a lot to unpack here and you need to just strap in to the rollercoaster and ride the riff wave without trying to think too much about what's coming next. Their penchant for hitting you with an unexpected twist is remarkable. This is also oddly calm and uplifting for a brutal death metal album - as hard as it is to follow, there is a more subdued - dare I say delicate? - sense of emotion that permeates through the winding riff maze. It's refreshing on multiple levels.
-Nate

MetalBite's Rating: 8.5/10

Into Darkness - Route To The Other Side

9: Into Darkness - Route To The Other Side
Dying Victims Productions

It's a common review cliché at this point to say a record sounds both old school and modern at the same time, but that's kind of what Dying Victims does best. Enter Into Darkness, the project of mastermind Giulia Warrior aka Doomed Warrior, basically Italy's Chuck Schuldiner. Her growls are very much in the vein of Chuck's higher, piercing screamed and aggressive growl. The album is full of old school death metal tremolos and is not afraid to slow things down with headbang inducive chugs. Accompanied with an incredible guitar performance by both Giulia and Filippo with plenty of creative solos that bring a good dose of melody and virtuosity. The album creates a cool, otherworldly and spacy atmosphere, think of In Flames Lunar Strain but more straightforward, pure OSDM. For the drums, Santo can go full speed thrashing, slows down in a more doom territory and seldom uses a blastbeat here and there, which makes them stand out more and build anticipation. Incredible Italian death metal on Dying Victims, need I say more?
-Raphael

MetalBite's Rating: 8.5/10

Wehmut - IV: Sommer

8: Wehmut - IV: Sommer
Naturmacht

Uplifting, regenerative black metal. Feels like you are following the light and ascending into the next realm. According to the blurb on bandcamp, this album is the last in a 4-part series and concerns itself with "becoming the person who would have protected myself as a child". In line with this, Wehmut has a certain purity and innocence that, for brief moments, brings me back to the emotional awe and wonder of discovering Alcest for the first time. Recommended for anyone who might feel disconnected with reality and needs a moment to reconnect with their inner self.
-Nate

MetalBite's Rating: 8.5/10

Frolic - Legacies Of Cybernetica

7: Frolic - Legacies Of Cybernetica
Hectic Records

I'm a fan of Blayne Smith's metal monthly stream (https://www.twitch.tv/metalcomedy), you always make great discoveries, like this gem of an album! Bay area death/thrash sounds good on paper, and it also sounds amazing in your ears! With a greater emphasis on melody and technical musicianship but with an extra spicy dose of extremity, Frolic creates the perfect thrash. With incredible melodicism in riffs but especially in the epic and over the top solos, balanced with a savage vocal performance, summoning his inner Chuck Schuldiner, it creates an addictive combination. With the occasional low growled vocals and short burst of blastbeats, they always do something different, which makes the 38 minutes never boring and just flies by so quickly! Impeccable thrash with just the right amount of extreme!
-Raphael

MetalBite's Rating: 8.5/10

Psycroptic - The Pulse Of Annihilation

6: Psycroptic - The Pulse Of Annihilation
Metal Blade Records

Psycroptic is a tech death institution at this point, and every one of their albums is chock full of their ear-catching, finger-twisting riffwork, with their signature sense of melody and groovy phrasing. You can immediately tell it's a Psycroptic riff the second those licks start ripping - it probably has something to do with the scales/modes they lean on more. I'm sure someone better versed in music theory could explain it.

There isn't a ton I can say about this because it's more of the same, but I wouldn't want a band with an established signature sound to reinvent the wheel at this point in their career. I will say, begrudgingly, that Jason Peppiatt has finally earned his place as their main vocalist in my ears. I know he's been in the band three times longer than Matt Chalk was at this point, but "Scepter Of The Ancients" is just so fucking good and Peppiatt's more shouty vocal approach always left a sour taste in comparison to Chalk's variety of uniquely compelling growls. After seven albums, Peppiatt finally sounds like he fits the music better, and I don't hate the occasional clean vocals either (a rarity!).

If you liked the rest of their albums, you'll like this one. What else do you need to know? it's fuckin' Psycroptic.
-Nate

MetalBite's Rating: 8.6/10

Coprolith - Putrescence

5: Coprolith - Putrescence
Me Saco Un Ojo Records

This is such a wonderful and disgusting (positive) piece of Canadian death metal, it's pure comfort food for the ears. Fair warning, Canadian death metal can bring out my nationalist side (ew), I just think we make the best death metal, period! Toronto's Coprolith balances the slow and cavernous with the occasional fast blastbeat, it's brutal but not in a slam brutal death kind of way, vocally always with low and reverb filled guttural growls, it's most of the time slow, almost in a death/doom kind of way, but it's still too fast to be classified as such. Its ability to slow down with a heavy chug will induce all kinds of satisfying grimaces. The drums sound particularly impeccable, rich and organic, never that brutal death tin can snare sound. If you like slow, crawling death metal that occasionally speeds up, Coprolith will satisfy your craving.
-Raphael

The guitar tone sounds like rubber drenched in slowly setting concrete, and I mean that in the best way possible. This is heavy, but in the filthiest way possible, and it almost…bounces? As much as a death/doom album can. Coprolith understand that less is more, but they always give you something to latch on to - putrid, reverb-drenched bellows, a really midpaced double-kick section, a thick, cathartic tremolo riff or a tasty fill. The sea of murky, cavernous death metal can feel overwhelming at times, but it's standouts like Coprolith that make it worth swimming in.
-Nate

MetalBite's Rating: 8.6/10

Protest The Hero - Within

4: Protest The Hero - Within
Iron Bonehead Productions

I must admit a shameful period in my musical journey; I used to be a big emo kid in the 2000's. On a more serious note, I am not ashamed at all and still love bands like Billy Talent and the subject of this present review, Protest The Hero, a band that bridges progressive compositions, complex and almost chaotic riff structure, high rhythmic complexity and the raw emotional intensity of post-hardcore, all of this with a good dose of honesty and fun! 2008's "Fortress" remains one of my favorite albums of all time, as well as the towering achievement that is 2013's "Volition".

On "Within", Protest The Hero gets political and straight to the point with the first line of the first song, "Mouthpiece" being: "When caught between the devil and the deep blue sea, You won't find me anywhere within that binary". Establishing right away that they don't identify with either party (devil/red/republicans or liberals in Canada and blue/democrats or the tories in Canada). Instead, immediately identifying the problem: "Endure the culture war to ensure that we, Victor and vanquished, victor and vanquished, Are too distracted to identify the enemy". Billionaires control and own much of the media and are spending a lot of money ensuring we fight each other and are distracted while they rob us blind. Rody Walker offers a commanding vocal performance with his incredible range, going from operatic to deep growls, his voice remains one of the best in the game. With complex mathy riffs, infused with a lot of melodies and cathartic chorus, they show that music can be unbelievably complex and technical and yet, feel completely authentic. The song "Fishhook" is written about Rody's old neighbor, a closed-minded old man that would always argue with all sorts of conspiracy theories and yet, when his driveway was full of snow after a storm, he was always there to plow it. Rody sings a line that is essentially my life's philosophy: "If you put kindness in the world, It's kindness that you get". The song has an upbeat tempo and is full of heartwarming melodies with the occasional groovy math riffs. Producer: William Lamoureux is responsible for the album's two instrumental songs "i.above" and "ii.below", both cinematic and orchestral, with beautiful strings arrangement that cut the album perfectly in three. Cellos have a way to touch me directly in the heart! The album ends with "The Mariner", written about a concert June 10, 2022 at the Danforth Music Hall in Toronto, Canada. It was the band's biggest show on the tour coming out of the COVID-19 lockdown and Rody was nervous about his voice still being good enough. After the first song, he realized he couldn't sing but the audience came in clutch and sang all the songs together for him (which you hear in the mix). Ironically Rody is at his absolute best on this song, with his cinematic, operatic vocals and powerful screams, it's a grandiose ending and is Rody's way of saying thank you to the band's fans. Musically, they summon their inner Rush with heartwarming chorus and riffs, complex breaks and prog buildups.

This album feels decisively Canadian, with a beautiful message of unity and love with impressive musicianship, it reminds us that we have more in common and that crucially, there are more of us than them. Solidarity forever and down with the Epstein class!
-Raphael

MetalBite's Rating: 9/10

Left To Die - Initium Mortis

3: Left To Die - Initium Mortis
Relapse Records

Death is dead, long live Death! Left To Die cover old demos and Mantas tracks with such great effort and power that you start to wonder if it is actually Chuck Schuldiner. Everything drips with the spirit of the legends and it is an absolute pleasure to listen to the twelve tracks. If you like "Scream Bloody Gore" and "Leprosy" you will instantly fall in love with "Initium Mortis". (If you like the more technical albums you have Gruesome where ½ of Left To Die also plays.)
-Michael

MetalBite's Rating: 9/10

Jordsjø - Pestkrønikene

2: Jordsjø - Pestkrønikene
Dying Victims Productions

What do you get when a bunch of Norwegian top tier musicians get together to play prog rock in the vein of King Crimson and Jethro Tull? You get a decidedly impressive take on prog that is fresh and modern and yet also sounds like it comes directly from the 70's. What really stands out is the superb use of the flute and the mighty Minimoog that gives them their irresistible 70s sound. The album has an interesting pacing, six traditional songs with vocals cut straight in the middle with two instrumentals. I am not the biggest instrumental song fan, weirdly enough being a massive prog fan, but those two instrumentals on "Pestkrønikene" are something else. Both songs tell a story and are so well composed, there is never a dull moment. One moment is a quiet folky guitar picking with a delicate flute, the other is an upbeat heavy rock banger, straight out of "Pale Communion" era Opeth. Adding to all those influences, is a clear worship of the mighty Rush. Whether it be with Håkon Oftung vocals that sound very Geddy Lee-esque or Kristian Frøland's expert drumming, this is an album that pays homage to prog legends, both old and new but in a completely unique way making the 35 minutes passing so quick, maybe too fast in fact!
-Raphael

MetalBite's Rating: 9/10

Ripper - Towards Rebirth

1: Ripper - Towards Rebirth
Dark Descent Records

It's been ten long years and a few line-up changes since Ripper released "Experiment Of Existence", a contender for the best thrash album of the 21st century. The Chilean quartet have some work to do to regain the momentum that seemed to be gathering unstoppably behind them in the 2010s, but thankfully they lose no time in proving that they still possess both the fire and technique to deliver another outstanding record. Ripper authentically evoke the furious frenzy of early Sepultura, Kreator, and Destruction, but crucially, augment it with touches of technical death metal, creating a dizzying vortex of speed and sophistication. The production perfectly captures Ripper's magic, raw and unpolished, but not of the expense of a clarity that allows Tomás Barriga's expansive bass lines to expertly weave their way around and through the scything guitars, not unlike classic Atheist or Pestilence. Highlights abound, with the instantly memorable riff of the title track making it an instant favourite, and the early Death meets Merciless assault of 'The Source Exterminator' demonstrating the band's incredible dexterity and ability to transition seamlessly through what could, in lesser hands, be a disparate and disjointed jumble of riffs and melodies. First among equals though is the simply unbelievable 'Messages From The Other Side', a precise demonstration of death-thrash that wipes the floor with a competition barely fit to string Ripper's guitars. Whether Towards Rebirth will stand the test of time in the way that its predecessor has done so effortlessly remains to be seen, but the early signs are very, very good.
-Benjamin

Chile's Ripper offers us relentless speed, aggression and never-ending riffs, presented by a beautiful Paolo Girardi oeuvre d'arts! Starting with a spooky synth instrumental intro, it's the first and last time you'll be able to breathe (positive) because what follows is a masterful performance of savage death and thrash metal that barely slows down a second. And when it does, what follows is usually a shredding solo full of melody and superhuman speed. The instrumental, "The Secret Dawn" is 6 minutes of riff after riff that keep you captivated all the way through. But I still do prefer when Patricio Spalinger screams his lungs out with a commanding screamed growl full of reverb that sounds like it's coming from deep within a cave. If you want to get pumped and energized, put on "Towards Rebirth" and get ready to thrash your surroundings!
-Raphael

MetalBite's Rating: 9.2/10