Let’s be real for a second: summer has a way of stretching its welcome too long. By August, even the most ardent sun worshipper starts craving the crisp bite of autumn air, the kind that makes you want to curl up with a book, a blanket, and a playlist that feels like it was curated by someone who understands the weight of the season. This week’s Metal Hammer tracks of the week list feels like a perfect companion to that transition, offering a chillingly timely lineup that’s less about sunburn and more about the kind of music that thrives in the shadows. If you’ve ever wondered why metal bands seem to peak in October, this is your answer. It’s not just about the weather—it’s about the mood, the atmosphere, and the way certain sounds cling to the edges of your consciousness like fog.
What makes this particularly fascinating is how the music industry seems to sync with our collective seasonal rhythms. The top track this week, Silvertomb’s doom-laden offering, feels like it was plucked straight from a haunted forest at dusk. But it’s not just the spooky vibes that draw me in—it’s the way these artists are using their work to tap into something primal. When Kenny Hickey and Johnny Kelly, veterans of Type O Negative, team up for a project named after a tomb, you know they’re not here to play around. Their sound isn’t just heavy; it’s a slow, deliberate descent into the kind of darkness that makes you question your own sanity. And honestly? That’s exactly what we need right now. In a world that’s constantly trying to sell us positivity, there’s something cathartic about surrendering to the weight of a well-crafted riff.
Take Mastodon’s In The Ruins, for instance. Without Brent Hinds, the band’s sound feels like it’s been recalibrated, but the essence remains. This track isn’t just a prelude to their new album—it’s a statement. The tonal shifts they’ve mastered here are like watching a storm build: you can feel the tension, the inevitability, and the sheer power of what’s coming. What many people don’t realize is how rare it is for a band to evolve without losing their identity. Mastodon’s ability to balance heft with melody is a masterclass in restraint, and it’s a reminder that even the heaviest music can carry a whisper of beauty. If you take a step back and think about it, this is the kind of track that could redefine the boundaries of modern metal.
Then there’s Serena Cherry’s Goddess Of Rot under the Noctule moniker. This isn’t just a solo project—it’s a love letter to the raw, unfiltered emotion that Svalbard brought to the table. But Cherry isn’t content with nostalgia; she’s pushing the envelope. The fury and majesty of this track feel like a battle cry, a declaration that black metal isn’t dead—it’s just waiting for the right moment to rise again. A detail that I find especially interesting is how she’s blending video game aesthetics with traditional black metal. It’s a juxtaposition that screams of a generation raised on pixels and power chords, and it’s a testament to how the genre is evolving without losing its core. This isn’t just music; it’s a cultural artifact.
Green Lung’s Black Magick Radio brings us back to the late ’60s and early ’70s, a time when keyboards weren’t just instruments—they were portals to other worlds. Their ability to evoke that era’s dark, magical allure is nothing short of genius. But what makes this track resonate so deeply is the way it feels like a time capsule. In an age dominated by digital everything, there’s something almost sacred about the analog textures they’re using. It’s a reminder that sometimes, the past isn’t just a place we look back on—it’s a foundation we build upon. And if you’re into the idea of summoning ectoplasm through a synthesizer, then this is the track for you.
Looking ahead, the upcoming releases from bands like Godflesh and Zilqy are equally compelling. Justin Broadrick’s Living/Ending is a nihilistic vision of the future, and it’s hard not to feel a pang of melancholy when you listen to it. After nearly four decades of industrial metal, it’s clear that Broadrick isn’t just retiring—he’s leaving behind a legacy that’s as heavy as it is haunting. Meanwhile, Zilqy’s World’s End feels like a glimpse into the future of Japanese metal, blending industrial elements with a modern sensibility that’s both fresh and familiar. These tracks aren’t just songs; they’re statements about where the genre is headed and what it means to be part of it.
What this really suggests is that metal isn’t just a genre—it’s a movement. It’s a way of seeing the world, of feeling it, of processing the chaos and finding meaning in the noise. Whether it’s the oppressive aggression of The Cartographer’s Griefworn or the cosmic melodies of Hippotraktor’s Oblivion Walker, these tracks are more than just music. They’re experiences. And in a world that’s constantly trying to distract us, there’s something deeply satisfying about losing yourself in a song that feels like it was written for you, in this moment, in this season. So as Halloween approaches, I’ll be tuning in—not just for the music, but for the way it makes me feel. Because at the end of the day, that’s what art is supposed to do: make you feel something, even if it’s just the chill of a cool night.
