Thank Satan It’s Friday: Jellyfish And Parrots

This week is a real mixed bag, and we’re gonna kick things off instrumental-style. Enjoy the The Ocean‘s unreleased instrumental about an ancient jellyfish, get fucking wasted with King Parrot, kill a dude with Cannibal Corpse, and then top things off with more murderous rage courtesy of The Black Dahlia Murder.


The Ocean – “Turritopsis Dohrnii”

The Ocean is signed to Pelagic Records, which The Ocean guitarist Robin Staps owns. Which means that both The Ocean and Pelagic Records have collectively decided that it’s time for some new The Ocean music, though not quite.

On September 29, Pelagic Records will release the sample In The Twilight, These Rocks Have Teeth, which will feature “Turritopsis Dohrnii.” The song was recorded in 2013 for the band’s Pelagial album, but never quite saw the light of day. It makes sense the song was considered for the album at the time, since Pelagial was initially supposed to be an instrumental album.

The Ocean is currently working on the followup to Pelagial, and you can grab In The Twilight, These Rocks Have Teeth here in the meantime. The sampler is actually pretty cool, and features music from Cult Of Luna, MonoKhoma, Hypno5e, Tiny Fingers, Earth Ship, Abraham, Lo!, and a ton more.

King Parrot – “Piss Wreck”

Australia, please never change. Specifically King Parrot, whose music videos from its coming album Ugly Produce are nothing short of amazing. “Piss Wreck” follows the story of a man who doesn’t want to get off unemployment, games the system, and then gets piss wreck drunk after spending his check on a good amount of beer.

Musically, King Parrot is a lot of fun. It’s a grindy metal that borders on hardcore punk, and there’s really nothing not to love about it. Ugly Produce is out today, and you can snag a copy here.

Cannibal Corpse – “Code Of The Slashers”

Cannibal Corpse has been doing Cannibal Corpse since 1990, so I’m not entirely sure I need to explain to you what to expect. “Code Of The Slashers” is grotesque, gore-laden death metal for the masses with George “Corpsegrinder” Fisher reciting his lyricisms of murder and death once more, and in no way is that a bad thing.

It also helps that the song starts off slow and chunky, and then picks up the speed a bit to really drive home the heaviness. Essentially, “Code Of The Slashers” is a prime example of why Cannibal Corpse is still relevant today – the music is still great and totally applicable in modern metal. Red Before Black is out November 3, and you can pre-order the album in a variety of ways here.

Oh, and the below video gets pretty gory. So let’s slap an NSFW tag on that one.

The Black Dahlia Murder – “Matriarch”

The Black Dahlia Murder kicked off Nightbringer‘s singles with the title track, which seemed to confuse a good portion of fans. Rather than come out of the gate swinging, The Black Dahlia Murder steamrolled the gate with a mid-paced crusher. Of course the band had some fast ones up its sleeve for later in the single, and thus we move to “Matriarch.”

“Matriarch” is just straight up destruction. It’s what fans seemed to expect from the get go, though there’s a certain frantic energy to the track that I personally thought was absent from the majority of 2015’s Abysmal (it’s probably my least favorite album by the band). In short, Nightbringers seems like it’ll be the one to beat.

Pre-order Nightbringers here before its October 6 release.

All Pigs Must Die – “Blood Wet Teeth”

All Pigs Must Die, the band consisting of guitarists Brian Izzi (Trap Them) and Adam Wentworth (ex-The Red Chord), vocalist Kevin Baker (The Hope Conspiracy), drummer Ben Koller (ConvergeKiller Be Killed), and bassist Matt Woods (Bloodhorse), is exactly as vicious as it sounds.

The lead single from its coming album Hostage Animal was a pretty standard fare for All Pigs Must Die, but the new one takes things up a notch. While Trap Them is almost certainly calling it quits in November, I take solace in the fact that Izzi’s riffs will live on through All Pigs Must Die.

Hostage Animal is out October 27.