From the rugged coast of British Columbia, Canada, metal songwriter LEAH is turning heads across the globe. Fans describe her as “the metal Enya” and describe her songs as “Loreena McKennitt meets Delain”. In a sea of mediocre symphonic metal, LEAH stands out not only with her magnetic twist of Celtic and World influences but also her well-known ethereal vocals. Most recently, LEAH raised $87,000 through Indiegogo and her shop to launch her new album, "The Quest" on October 5th, 2018. This new album has a much deeper Celtic and Fantasy connection, prog moments, yet still embraces classic Symphonic Metal. LEAH sets the bar for both independent artists and the symphonic metal genre alike, which is often dependent on touring as the primary means of gaining new fans and marketing. LEAH achieves her success having never done a tour in her entire musical career. She hopes to tour one day, but in the meantime plans to continue her path as a recording artist and songwriter.

Hear Nothing See Nothing Say Nothing is the debut studio album by English hardcore punk band Discharge, released on May 21, 1982 by Clay Records. While some critics at the time dismissed this album as "unmusical", in retrospect, it is viewed both a classic of the era and the peak of Discharge's career. The album is characterized by a minimalistic approach of music and lyrics, a heavy, distorted, and grinding guitar-driven sound and raw, shouted vocals similar to a political speech, with lyrics on anarchist and pacifist themes. The album is considered highly important in the evolution of extreme forms of metal and punk music, paving the way for genres such as thrash metal, black metal, crust punk and grindcore.

Progressive metallers BETWEEN THE BURIED AND ME will release part two of their conceptual, two-part, epic album, "Automata", on July 13 via Sumerian Records.

There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now.

Like many emo/post-hardcore acts, Californian quintet Dance Gavin Dance—which formed in 2005—is inherently an acquired taste due to its drastic fusions of alarmingly hostile centers with invitingly emotive choruses and soaring instrumentation. Few other genres blend such polarized extremes, yet there's always something alluring and admirable about the sheer skill the band shows in balancing these personas. Thankfully, that remains true on Artificial Selection, the group's eighth studio album. While it can be a bit too abrasive and repetitive sometimes, there's still a lot to like and commend about the collection's catchy hooks, refreshing aggression, and subtle yet significant stylistic amalgamations.

Having mastered one of metal’s angriest subgenres, Parkway Drive just got even heavier. Reverence, the Australian metalcore legends’ sixth album, picks up where 2015’s expansive, exploratory Ire left off. Rather than racing ahead with faster BPMs and ear-splitting shrieks, the band dig deeper—led by Winston McCall’s monstrous growls—to cataclysmic theatrical effect. Acoustic guitars, synths, and sinister spoken word add melodrama to “Wishing Wells” and “Cemetery Bloom,” and “The Void” packs a punch with thrilling, harmonized power-metal solos. After 15 years, Parkway Drive aren’t just relevant: they’ve still got plenty of pulverizing tricks up their sleeves.

“Elements“ is an album that is showing every aspect and part of what CALIBAN’s music is made of: From the neck-breaking “This Is War” and the raging “Ich blute für Dich” via the catchy “Intoxicated” and the multilayered tunes of “Before Later Becomes Never” to the soaring melodies of “Masquerade” and a frantic oath, entitled “Carry on”, CALIBAN has something up their collective sleeves for every single one of their diverse fans. Like on previous albums the band invited friends and like-minded people to take over guest-vocals for several of their songs: “Ich blute für Dich” features Matthi from Nasty and Sushi from Eskimo Callboy, for “Before Later Becomes Never” CJ McMahon from heavyweights Thy Art Is Murder laid down some crushing growls while you can hear Brian “Head” Welch on “Masquerade”.

Erase Me is the upcoming eighth album by American rock band Underoath. It is their first album in eight years following Ø (Disambiguation) (2010), marking the longest gap between two studio albums in the band's career, and their first one with founding drummer and clean vocalist Aaron Gillespie since Lost in the Sound of Separation (2008). It was recorded in mid-2017 with Matt Squire (Panic! at the Disco, 3OH!3) and mixed by Ken Andrews (Failure, Jimmy Eat World). The album will be released via Fearless Records on April 6, 2018.

Automata I is the upcoming eighth studio album by the American progressive metal band Between the Buried and Me, to be released on March 9, 2018 through Sumerian Records, their first release with the label. It is the first part of a two-piece album—the second, Automata II, is scheduled to be released in summer 2018.

Florida-based metallers TRIVIUM released their new album, "The Sin And The Sentence", on October 20 via Roadrunner Records.

The premise of a cello-playing four piece (from Finland, no less) performing the music of Metallica may seem outrageous at first, but much of the metal gods' repertoire translates surprisingly well into this "classical" reading. And while Apocalyptica chooses to concentrate on more recent hits like "Enter Sandman," "Sad But True" and "Wherever I May Roam" for obvious commercial purposes, it is Metallica's earlier, more complex compositions, like "Master of Puppets," "Creeping Death," and "Welcome Home (Sanitarium)," which actually work best in this scenario. The quartet's love and understanding of the music is the real key here, and their attention to detail and technically flawless performance will no doubt satisfy even the most skeptical of fans…