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One of the most influential bands in music, ranked eighth on the list of the biggest-selling groups in history, Metallica unveils its ninth studio album, Death Magnetic. The band's
first album in five years, Death Magnetic is also its first with renowned producer Rick Rubin (Danzig, Slayer, System Of A Down,
Slipknot), first with bassist Robert Trujillo, and first on Warner Bros. Heavy and thrashy, unafraid to embrace the band's past yet move
into the future.

Dethklok returns this fall with "Metalocalypse: Dethklok Dethablum II", the highly anticipated follow up that fans have been begging for. Metalocalypse, the hit Adult Swim show centers around the biggest, most metalest band in the world, Dethklok. Each episode of Season 2 features a song from the band and the best of those have been expanded to make Dethalbum II, more brutal than ever before. Prepare for an onslaught of bone-crunching Nordic riffs. This deluxe version of Dethalbum II includes bonus DVD with 52 minutes of music videos from the 2008 Dethklok tour.

There's a fine line between being funny and being a joke. Thankfully, the debut album from Dethklok, the band at the core of Adult Swim's hit animated series Metalocalypse lands squarely in the former category. Performed by series co-creator Brendon Small (Tommy Blacha is Small's creative partner)--with a lot of help from metal drum legend Gene Hoglan (Death Angel, Strapping Young Lad)--songs such as "Birthday Dethday," "Face Fisted," and "Awaken" tap into the unapologetic musical brutality of death metal, while highlighting the often confusing ambiguity of the genre's lyrics. Progressive taxes ("Detharmonic"), the disappointment and seemingly endless cycle of higher education ("Go Forth and Die"), and the obligatory kiss-off to moist-palmed computer geeks who spew vitriol from the safety of Internet chat rooms ("Fansong"), provide the fodder for Small's hilarious, subtle, intelligent and highly quotable lyrics. Make no mistake: The Dethalbum isn't going to supplant your favorite At the Gates or Slayer recordings, but it will provide hours of amusement and joy--perhaps the very enemy of death metal itself, perhaps the very thing that makes Metalocalypse one of the funniest shows on cartoon TV these days and Dethklok the truest rock band since Spinal Tap. --Jedd Beaudoin

A full decade since their formation, Orange County, California's Atreyu are just as subversive, unrelenting and unpredictable as they were when they first started. Congregation Of The Damned, their fifth album, is a testament to the inexhaustible power of heavy music and the unquenchable flame of five musicians determined to build a distinct sonic landscape entirely on their own terms. As vocalist Alex Varkatzas spits in "Bleeding Is A Luxury:" `It's taken 10 fucking years for them to see I don't need their approval'.

"This album is us stepping forward to new territory but taking with us the best of where we've been," explains drummer and vocalist Brandon Saller. "It really is the culmination of a ten year career."

Often, artists will release their fastest, heaviest material at the beginning of their career and, as they mature, they become more melodic or commercial. That seemed to be the case when Atreyu recorded their Top 10 disc Lead Sails Paper Anchor in 2007 - but that perception was deceptive. The album was rife with sing-along choruses, radio-ready rhythms and pristine production, yet it was still undeniably heavy, as appealing to diehard headbangers and to anyone who appreciates solid, dynamic songwriting.

But with their new album, Congregation of the Damned, Atreyu blows all preconceptions out of the water, commanding us yet again to expect the unexpected. Not only is the record more like a well-crafted continuation of the minefield-strewn path they were on when they recorded 2006's A Death-Grip on Yesterday, it's filled with some of the band's darkest, most political material to date. Not only have Atreyu been fueled by their passion, they've been motivated by their determination to point out the ugliness they've witnessed all around them. Hence, the album title.

"Our leaders have screwed us," explains Varkatzas. "We've started wars, we're in a recession and we're trying to fistfuck other countries into oblivion. America's getting by on doing a lot of things in the name of God. George Bush got away with a lot of shit by throwing Jesus into the mix: 'God wants me to do this'. So instead of being a beautiful church congregation, we're a congregation of the damned. We're in such a scary place right now, I've never felt this sense of tension before - and that's in the music." Atreyu started writing Congregation of the Damned in January 2009 and almost immediately the excitement of being back in a collaborative, unified mindset sparked the musician's creativity. "It felt like when you first start a band," explains Saller. "We were just so excited to hang out in a room and write songs just because we wanted to. And the writing process was more group oriented than previously."

Within months, Atreyu had composed 25 songs that ranged from plangent and heartbreaking to brutally fast and cathartic. Later that year, they entered the studio with producer Bob Marlette (Ozzy Osbourne, Seether). Since they were working near their homes in California they didn't feel confined the way they sometimes had in the past, and they were able to enjoy the recording sessions like never before.

Uninformed listeners could be forgiven for not realizing what a blast the guys had making Congregation of the Damned. Songs like "Ravenous" and "You Were the King Now You're Unconscious" are furious and frightening, the sonic din of young adults coming to terms with the idea that they might have sold themselves short while their generation was foundering in a universal identity crisis. Whether or not that was the case, Atreyu are now determined to prove themselves more than ever.

"In the past I'd had my head up my ass," Varkatzas admits. "But with Congregation of the Damned I've focused myself and driven harder for what I want. We've brought back a bit of the old Atreyu: shredding, screaming and breakdowns."

Varkatzas is being modest. True, the trenchant elements of old are back, but they're combined with stronger songwriting and flourishes that keep Atreyu sounding utterly captivating. "The first single, Storm to Pass" builds from an acoustic intro into a steadily chug of buzzing guitars that climax in a triumphant chorus. "Insatiable" is powered by a harmony-filled refrain that reflects guitarist Dan Jacobs' penchant for powerhouse `80s metal bands like Iron Maiden, Judas Priest and Motley Crue. "Black Days Begin" features a southern groove-chug informed by the guys' love for Pantera, and "Wait For You" is a piano and strings-laden love ballad that reveals an entirely new side of the band.

"On Lead Sails Paper Anchor we had a slide guitar ballad, and that's not my favorite song in the world, so this was kind of our chance for rock ballad redemption," Varkatzas says. "Big Dan [Jacobs] had this idea kicking around forever and we had never written a full-on love song. So we went, "Dude, we're writing a ballad. We don't give a shit. This is what we want to do. And if you don't like this one, you don't have a heart."

Lyrically, Congregation of the Damned pulls no punches from start to finish. Album opener, for example, "Stop! Before It's Too Late And We've Destroyed It All" is based on a Joe Rogan comedy sketch in which he sees humans as a plague on the earth. Varkatzas empathizes with Rogan's plight.

"When you fly into LA it's all green and beautiful but when you hit the city the air is putrid. It's a big black spot and it doesn't fit into the natural geography," Varkatzas says. "Lyrically, it's as if we're this predatory organism talking over and killing everything. Mother nature would be better off without humans walking the earth.

The contagious first single from Congregation of the Damned "Storm the Pass," is simultaneously about Varkatzas' psychological turmoil and the volatile state of the world on the brink of annihilation. "I wrote it from two angles at once so it would impact different people in different ways," the vocalist explains. "I have a tendency to get either super depressed or super pissed off. I can see it coming and I can feel it building and it's like watching clouds or thunder heads rolling off the beach onto an island and just destroying the island. And at the same time it's about how you can see wars or conflicts forming, like Desert Storm, Operation Iraqi Freedom, what's going on in North Korea or what could be going on in Pakistan or Iran. You feel this tension building, this storm, this malice, and it's like a never-ending cycle and it can destroy us all."

Some of the songs aren't political at all. "Gallows" -- which features the line, "Like the loser I am / I can't help but to see / That success scares the living shit out of me" - is about personal insecurity and self-doubt, and having the tenacity to break through the fear.

"I'm honestly not sure what scares me more," Varkatzas admits. "That's a lot for people to grasp. Am I not giving it my all? Have I pulled back in the past because I feared failing on my own? Or am I just not good enough? But we're all human and that's how we learn: it builds heart and character. Tenacity has got me where I am, not talent. Whether that alienates people or makes me look stupid... I can't help it."

All That Remains, Overcome

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Genre: Popular Music
Media Format: Compact Disk
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Release Date: 30-JUN-2009

The sword is a colossal, high-energy powerhouse. Utilizing a potent combination of intense songwriting chemistry, eye-opening creativity and talent and a distinctly unique vision, the sword is, without question, one of heavy music's most electrifying new bands. Conceived in austin in 2003, the sword took the form of a cohesive quartet in early 2004 when j.d. cronise (guitar/vocals), kyle shutt (guitar), bryan richie (bass) and trivett wingo (drums) joined forces. Inspired by such legendary names as sleep, slayer and the melvins, the four-piece immediately began to construct the songs that would soon comprise their initial demo recording. In february 2006 the sword released a mind-blowing, nine-song journey titled 'age of winters' on new york based label kemado records. The release sent shockwaves throughout the hard rock community at large across the usa and europe and had them featured alongside wolfmother and black mountain as the leaders of what the media have been calling 'hipster metal'. The band now unveil their second album 'gods of the earth'. More ambitious, more accomplished and simply bigger, 'gods of the earth's huge, mountaintop-friendly hooks, thunderous drumming and oceanic bass lines cut through the air like a scythe, while the ominous vocals of front man j.d. cronise weave fantastical tales rife with myth and mythology. Waves of powerful riffs and low-end thunder dominate songs such as the immediate 'maiden, mother & crone', 'fire lances of the ancient hyperzephyrians', 'under the boughs' and the paralyzing 'the black river'.

Grammy-nominated. Respected by peers. Revered by fans. An unstoppable force. Tougher than a prison yard. Architects of positive, uplifting anthems that require and demand crowd participation. That's Hatebreed, top to bottom, back to front.

This Connecticut hardcore/metal institution has been demolishing its way around the globe since 1994. Not many bands can enjoy that kind of longevity, but Hatebreed have made "being a career band" look easy. They've endured typical band "issues" like changing members and record labels, but through it all, they've never compromised and never looked back, instead choosing to charge ahead and make the most brutal, boot-to-the-teeth music they can.

And here they are, 15 years into their storied career, which includes four stints on the quintessential summer tour Ozzfest, racking up more appearances than any other band other than Ozzy himself; there are countless magazine covers (including a forthcoming issue of American metal Bible, Revolver); a Grammy nomination for "Live For This" from 2004's The Rise of Brutality; a debut album, Satisfaction is the Death of Desire, that is considered a classic release by fans and critics alike; a front-man who was invited to serve as the first host of the exhumed Headbanger's Ball on MTV2; and countless fans who hail from all walks of life. Go to a Hatebreed show and you'll see dudes, girls, and casual metal fans with a soft spot for Hatebreed. Hatebreed's music is like a universal language that so many speak and comprehend.

Despite all the accolades, the rich history and the band's keen ability to remain relevant deep into the second decade of its career, Hatebreed refused to rest on their laurels for Hatebreed, their fifth proper studio album, not counting 2009's For The Lions, which found the band flexing its creative muscles and covering influences such as Slayer, Misfits, Agnostic Front, Cro-Mags and Sepultura! The band retains the same headspace from For The Lions, by confidently trying new things and attempting different things to result in fresh, unexpected sounds.

For Hatebreed, former guitarist Wayne Lozniak returns to the fold and the band inked a new record deal with E1 Entertainment for U.S. and Canada and Roadrunner International for the rest of the world. This flurry of activity has infused the band with new life and a renewed sense of energy and as a result, everything about Hatebreed is bigger, stronger and louder. It's like the band has been rejuvenated by all these changes. After 15 years of brutality, the music is fuller, more technical and Hatebreed finds the quintet boldly going to new places. The results are beyond impressive and the risk has yielded a greater reward.

Each track on Hatebreed is both like everything you'd expect and nothing like what you are expecting, a testament to the band's ability to change without veering too far off course.

"Become The Fuse": The song boasts the technical playing that defines the album and is bolstered by Jasta's authoritative vocals.

"Not My Master": An anthem in the classic "Hatebreed style," the song boasts a bold chorus, simple `n savage riffery and a singalong. This is vintage Hatebreed, which will delight fans old and new.

"Between Hell And A Heartbeat": The band goes beyond 2-minute hardcore anthems, with a Slayer-style rocker that rattles teeth loose from gums.

"In Ashes They Shall Reap": With its shrill feedback, which is reminiscent of classic, live hardcore matinees at CBGB, the song is new territory for Hatebreed, with Jasta employing a singing vocal style not previously heard on Hatebreed records. The influence of his side project, the sludgy Kingdom of Sorrow, has found its way into a Hatebreed song and it works.

"Hands Of A Dying Man": Thrashes and burns and leaves a mark with its fast and thrashy riffage. A hallmark, signature Hatebreed chorus and technical guitar work abound.

"Everyone Bleeds Now": Chunky and riffy, the song is not so much a change of direction or a change of pace as it is building upon the already- sturdy Hatebreed foundation.

"No Halos For the Heartless: There's layered melodies and singalongs that could have been birthed at Toad's Place in Connecticut or at any venue in the Bay Area. The band displays its influences but makes the sound unique and its own.

"Through The Thorns": A song with Hatebreed signature moves, like empowering lyrics and a positive, yet devastating pit factor.

"Every Lasting Scar": A venomous song that gets the red out, thanks to its cathartic, cleansing metallicness. But once again, Jasta has the confidence to do new, different things with his voice, like sing!

"As Damaged As Me": Destined to become a song you send to someone who has fucked you over!

"Words Become Untruth: Like Cro-Mags, Slayer, and Testament all rolled into one, but with Hatebreed's unique flourishes.

"Undiminished": The most unexpected, yet satisfying song on the album. It's a doomy instrumental that clocks in at nearly four minutes.

"Merciless Tide": Another Hatebreed anthem that'll have kids in the pit screaming along, finger pointing and quoting it on their Facebook status updates.

"Pollution Of The Soul": The band goes out like lions on the final song, another classic Hatebreed anthem.

It's clear from all the different and new elements on Hatebreed that this band, who has seen and done it all within their genre, has had the courage to test their creative limits and exceed them , by trying new things, such as more pronounced, technical guitar work and through Jasta's vocal prowess. But the band never sacrifices the ultra-aggressive music in order to try new things. The band took risks and the dividends will be reaped once fans hear Hatebreed.

"Violence begins to mend what was broken." Boy, how he does it. Choosing not to borrow the pinky ring flash of the Underworld and but rather good old fashioned eye for eye justice, singer Randy Blythe croaks savagely though "Omerta." Backed by a healthy dose of lumbering menace, the song is sung as if by vengeance itself. Violence begetting violence is a constant on this album, both in music and word; in both personal trial and world politics. Lamb of God have show their 80's thrash roots on Ashes of the Wake by featuring solos from both Testament and Megadeth. The band plows forward taking from the new, the old, and adding their own stamp--heavy, angry, and political. --Daniel Mahon

It didn't take long for the once exciting sounds of metalcore to devolve into metalsnore but, thankfully, a few bands have lead the charge toward keeping the (sub)genre's lifeblood flowing with enthusiasm and even ingenuity. Among them? As I Lay Dying. The San Diego-based outfit returns with the kind of killer guitar hooks (courtesy of Phil Sgrosso and Nick Hipa), dynamic vocals, and a drum and bass attack that creates an aftershock bound to be felt for the remainder of the decade and long into the next. The radio-friendly title cut stands as an exemplar of the unit's true strengths, while "Comfort Betrays" and "Within Destruction" are pure metal mayhem that will inspire the listener to wield a healthy sense of righteous indignation. Among the other fascinating cuts are "Forsaken," "I Never Wanted," and the soaring "The Sound of Truth." The band may try a little too hard during moments of "Wrath Upon Ourselves" and "This is Who We Are," but on the whole, An Ocean Between Us proves that As I Lay Dying is an unstoppable force worthy of sustained attention and capable of transforming and transcending the musical parameters in which it was born. --Jedd Beaudoin