Let’s recover from the April’s Fool cringefest.

Since Primal came out, Entheos secured themselves a place amongst the very best progressive technical death metal bands out there. With The Infinite Nothing, they only hit the nail deeper and harder, with a 50-pound sledgehammer. This is no joke.

Out on April 15th, Death Lullaby‘s new album, Wormz, is a pretty good, djenty metalcore album. It does suffer a bit from being too similar from song to song, but they do have their own flavour to their compositions.

Throatpunch City‘s colourful and humoristic nature comes to life more beautifully than ever on Two Thousand and Punch: A Face Odyssey. A progressive rock with math rock elements and a resemblance to The Mars Volta and Coheed & Cambria is always a good new addition to your music library.

Symphonic, orchestral, progressive rock. Need I say more? The Enid‘s new album, Dust, is a magnificent and classically enthralling album. It does stand on the shoulders of giants, and reiterate things that have already been done, but they do it expertly enough that it’s a worthy new experience to behold.

Cyclamen have experimented with subscription to deliver a special exclusive album that is Creatuneau. For now, there is no way for people who missed out on the deal to acquire the album, but I’ve heard they are thinking of a way to make it possible. It’s a very good and quite experimental album in the most Cyclamen way imaginable. If you’re a fan of the band, put your hands on this.

An album of pure, jazzy electronic music joy. Submotion Orchestra released Colour Theory back in February, and it’s a very good, relaxing and entrancing experience, even if you’re not attracted towards electronic music at first.

And finally, the big surprise. Slice the Cake first announced their new album to be released last year, in April 2015, but we had no news since then, until they release it completely out of the blue on April 1st, this year. I still have to fully listen to the thing, but they released with it a prelude, an introduction: Odyssey to the Gallows. It’s a spoken word, theatrical, ambient drone/doom 28-minute song that really gets you in the mood and the concept of the following album, and it’s a much appreciated movement.

Odyssey to the West is the band’s – and probably the whole genre’s – most ambitious album ever. Notwithstanding the fact that it needs its own half an hour of introduction, the album moves back and forth between genres and moods, with an utterly mind-shattering concept story that’s pushed to the forefront. I’ve had a bit of information that there is some drama behind the release of the album, and that it’s been done so in an unfinished state, according to some band member(s), but since I know very little about this, I won’t express my opinion, only that I find it very unfortunate, even though I have been very eager to listen to the album.