July 2025 Best Heavy Metal Albums

Here are our picks for July 2025’s best new heavy metal albums.

1. Scalp – Not Worthy Of Human Compassion (Closed Casket Activities)

Scalp’s third album Not Worthy Of Human Compassion starts with violently plucked riffs adjacent to a sample about society before giving way to “Egodeath.” You get to hear Scalp’s bludgeoning barrage of death metal and grindcore that erupts instantly. The songs come and go quickly in a blink and you’ll miss it type of delivery, especially on quick hits like “Pit” and “Surrogatevictim.”

The riffs are buzzsaw worthy and the drums fire like a railgun in the midst of a powerful onslaught; subtlety has more than been lost on Scalp. “Crowsfoot” is a slower affair, but there are sections of it that feel cut from Entombed’s Left Hand Path both stylistically and in its tone. This terrifying mix of death metal and grind has the potential to climb to dizzying heights over time, like some recent Full of Hell LPs. Not Worthy Of Human Compassion is the grind album you have been searching for. Scalp are on another level. It’s our pick for July 2025’s best new heavy metal album.

2. Abigail Williams – A Void Within Existence (Agonia)

Although having to shrug off nay-saying from detractors of their early, metalcore-influenced material, Abigail Williams recently surpassed two decades of blackened mayhem. A Void Within Existence is their first album in six years, and yields furious yet melodic fare. The band, led by frontman Ken Sorceron perhaps sound more assured than ever on these seven tracks of bleak, atmospheric black metal. The guitar solos are classy, while the riffs and melodies sink their claws in after a few listens.

And whether blasting with fury or showing restraint where necessary, drummer Mike Heller (Fear Factory) brings plenty to the table. As for standout cuts, the intense shrieks and stirring hooks of “Void Within” and ambient, string-laden “Talk To Your Sleep” both resonate. Brutal “Still Nights” flirts with the group’s metalcore beginnings, but in a manner that infuses variety rather than trying to shamelessly broaden their audience. And closer “No Less Than Death” infuses well-placed clean vocals and moody harmonies throughout its slow-burning, nine-minute duration. A Void Within Existence is a satisfying listen, and its themes of “loss, disintegration, and unreality” proof that misery sure loves company.

3. Ba’al – The Fine Line Between Heaven And Here (Road To Masochist)

It’s refreshing to go into an album completely blind, and Ba’al’s The Fine Line Between Heaven And Here makes a strong first impression with its striking cover art. The music delivers too — a compelling fusion of Deafheaven’s atmosphere with melodic death metal’s intensity. Tracks are lengthy but never drag, seamlessly shifting between crushing aggression and moody introspection.

What really stands out is the emotional range; from guttural roars to soaring cleans, all backed by haunting strings. While demanding attention, the payoff is immense. The slower passages shine brightest, though the blistering black metal sections provide vital contrast. This is ambitious, cathartic stuff that sticks with you — post-blackened death metal at its most compelling.

4. In The Company Of Serpents – A Crack In Everything (Self)

Over the last few albums, including A Crack In Everything, In The Company Of Serpents have been phasing rugged Americana music into their dusty sludge/doom metal. This comes from the twang of lap steel guitars, the sporadic acoustics and gruff vocals weathered by time. The first two are the strongest on instrumentals “Delirium” and “Tremens,” while the last one gets its moment on the downtrodden “Until Death Darkens Our Door.”

The group doesn’t typically elevate the pace, which is how the steady double bass drumming in the middle of the eight-minute “Buzzard Logic” lands so well. The other song that aims for that sort of length, closer “Ghosts On The Periphery,” has a melodic heart that betrays its forceful riffs. It’s not often that a band almost 15 years into their career has hit their stride, but In The Company Of Serpents prove to do so with A Crack In Everything.

5. Scardust – Souls (Frontiers)

The Israeli symphonic progressive metal band Scardust have had a few lineup changes since 2020’s Strangers, with vocalist Noa Gruman and drummer Yoav Weinberg the remaining original members. Souls is a dramatic album with choirs, orchestras and a lot of atmosphere, but Scardust doesn’t forget the hooks and melodies.

Gruman’s vocal performance is first-rate, showing emotion, power and a variety of approaches ranging from operatic singing to harsh vocals. Their songwriting is actually pretty streamlined, adding plenty of proggy moments in songs mostly under four minutes. There are a couple of more expansive tracks, like “Searing Echoes” which features Subway To Sally violinist Ally Storch. The album wraps up with the three-part “Touch Of Life,” two of which feature Haken’s Ross Jennings. Souls continues Scardust’s ascent to becoming one of symphonic prog’s elite bands.

6. Impureza – Alcázares (Season Of Mist)

Alcázares is the latest in Impureza’s conquest of the niche market of “death metal with acoustic guitars.” The group maintains a fiery standard with their raging metal, yet the flamenco-style work is where they stand out. The acoustic guitars are not just used in instrumentals (though there are three excellent ones on this record) but pop up regularly to freshen up their sound.

It could be in an introduction with additional percussion and orchestration or a break midway in a song to let the fretless bass warmly pluck out jazzy leads. Impureza have gotten more open to playing around with where to fit the acoustics in. Alcázares also comes with catchier vocals, as the choruses on “Santa Inquisición” and “Bajo Las Tizonas De Toledo” have universal appeal regardless of any language barriers.