Every journey of transformation demands a sacrifice. For the international black metal entity known as Outlaw, that sacrifice was one of geography, identity, and sound. Born in the fervent crucible of the Brazilian extreme metal scene, the band has spent a decade undertaking a pilgrimage that led them from the streets of São Paulo to the historic heart of Dresden, Germany. This migration was not merely physical; it was an alchemical process of refinement, a shedding of one skin to grow another, sharper and more resilient. Now, this journey reaches its apotheosis.

Outlaw has announced the forthcoming release of their fourth full-length album, ‘Opus Mortis,’ a title that translates from Latin to “Work of Death.” Set for release on October 31, 2025, through AOP Records, the name functions as both a declaration of thematic intent and a profound metaphor for the band’s own story. To create this, their self-professed “most ambitious and destructive work to date,” a former self had to be ritually immolated. ‘Opus Mortis’ is the sound of the ashes, a monument to a death that was not an end, but a violent and necessary beginning.

Outlaw: A Savage Roar from São Paulo

The story of Outlaw begins in 2015, not in the cold forests of Scandinavia, but amidst the urban sprawl of São Paulo, Brazil. The band was conceived as a “savage roar from the innermost depths of rebellion,” an entity fueled by a primal and untamed energy characteristic of its homeland’s storied extreme metal history.

Brazil’s contribution to the development of thrash and early black metal is well-documented, a scene that prized raw ferocity above all else and produced bands that would influence the most extreme subgenres to come.¹ Outlaw’s initial output was forged in this same fire.

Their 2016 demo, ‘Total Devil Worship (Live Demo),’ and their 2018 debut full-length, ‘Path to Darkness,’ established a foundation of aggressive, rebellious black metal.

This early sound, while potent, was intrinsically tied to its point of origin. It was the product of a specific environment, a musical tradition with its own distinct dialect. As the band’s vision expanded, so too did the need for a new vocabulary.

An interview with vocalist and lead guitarist D. reveals a personal and philosophical evolution away from what he termed “childish” conceptions of evil toward a more nuanced, melodic, and spiritual form of worship music. This internal shift necessitated an external one.

To fully realize this developing artistic and ideological vision, a departure was required—not just from a sound, but from the very soil that nourished its roots.

Forged Anew in Dresden

The pivotal chapter in Outlaw’s history was their relocation to Dresden, Germany, where all members of the international lineup now reside. This was no mere change of address; it was a deliberate immersion into the heart of the European black metal circuit. It was in Germany that the band is said to have “sharpened its craft into a weapon of uncompromising black metal.”

The first evidence of this transformation was their 2023 album, ‘Reaching Beyond Assiah.’ On this record, the raw energy of their Brazilian origins was tempered and reshaped by the melodic, tremolo-driven discipline of the Swedish black metal tradition. Critics and fans immediately noted the clear lineage connecting their sound to titans like Dissection and Watain, a comparison the band openly embraces.

This sonic shift was mirrored by a deepening of their philosophical core. The band’s lyrical themes crystallized around Anti-Cosmic Luciferianism, a gnostic spiritual path that views the material world as a prison and chaos as the liberating force. This ideology is central to the work of their primary influences, marking Outlaw’s evolution as one of both musical and spiritual alignment.

The move to Germany subjected Outlaw to the pressures of a new artistic ecosystem. They left a scene they were a part of to enter one where they had to prove their worth, adopting the established language of European melodic black metal as their own. Dresden became the crucible where the raw iron of their past was forged into the disciplined steel of their present.

Harbingers of a New Death

The announcement of ‘Opus Mortis’ has been preceded by a trio of singles that, when taken in sequence, form a deliberate narrative triptych charting the band’s transformation. The release strategy itself is an act of storytelling, guiding the listener through the album’s conceptual arc before the full work is revealed.

The first single, ‘Through the Infinite Darkness,’ serves as a bridge between worlds. The band themselves framed its release with a crucial piece of context: “This song is closer to what we presented before,” they stated, “and that is why we wanted to release it first. The rest of the album is a journey to something unexplored by us until now.”

The track is a maelstrom of “total chaos” built upon intensely melodic and compelling guitar riffs and a sinister, oppressive atmosphere. It is a familiar storm of rage, grounding listeners in the band’s established power while hinting at the darkness beyond.

The second offering, ‘Those Who Breathe Fire,’ is a ritual invocation. Featuring a guest guitar solo from Georgios Maxouris of the acclaimed crust-punk and black metal band Dödsrit, the song is a fierce anthem that balances moments of ambient tension with explosions of pure black metal fury.

The accompanying music video, a stark and shadowy performance piece by Alexander “Witchfinder” Aguiar and David Hartmann, amplifies this ceremonial quality, transforming the song from a mere performance into a visual rite. It is the sound of the band gathering the power needed for the final stage of their transformation.

That final stage is revealed in the third single, ‘A Subtle Intimation.’ The track immediately breaks the established pattern, opening with clean, introspective guitar work that signals a clear departure from the relentless aggression of the preceding tracks. It explores themes of existential questioning and the search for meaning in decay.

This is the “unexplored journey” the band promised. It represents the arrival at a new state of being, one defined not just by rebellion, but by reflection. Acknowledging the past, invoking the power for change, and stepping onto a new path—the singles are a perfect microcosm of the Outlaw saga.

The Composition of ‘Opus Mortis’

Every element of ‘Opus Mortis’ appears to be a deliberate choice aimed at constructing a cohesive and authentic artistic statement. The album’s sonic character was entrusted to one of the most respected names in the genre: Tore Stjerna, who mixed and mastered the record at his legendary NBS Production, also known as Necromorbus Studio.

Stjerna’s extensive work with bands like Watain, Mayhem, and Dissection has helped define the sound of modern orthodox black metal. His involvement is a clear signal of Outlaw’s intent to align themselves with the highest standards of the Swedish tradition.

The visual dimension is handled by Johny Prayogi Artwork, whose striking cover art provides the thematic gateway to the album’s world. The album is further strengthened by a congregation of talent from the deep underground. In addition to Georgios of Dödsrit, the record features guest vocals from his bandmate Jelle Soolsma and a guitar solo from Lucas Veles of the Brazilian war metal act Blasphemaniac. These are not names chosen for broad appeal, but for their authenticity and respected status within the scene, cementing Outlaw’s connection to a network of uncompromising artists.

The album’s seven tracks, from the violent eruption of the opener ‘Blaze of Dissolution’ to the somber, apocalyptic finality of ‘Ruins of Existence,’ are crafted to guide the listener on a complete and cathartic journey through destruction and rebirth.

In the Shadow of the Trident

An appreciation of Outlaw’s work begins with their lineage. Their music stands firmly in the shadow of the trident, the symbol associated with the Swedish titans Dissection and their most prominent spiritual successors, Watain. This connection is not merely aesthetic; it is philosophical.

Outlaw’s work continues a specific, highly ideological branch of black metal rooted in theistic Satanism and anti-cosmic belief systems, a tradition that has become increasingly rare as the genre has diversified.² The origins of black metal itself lie in the first wave of the 1980s, an offshoot of thrash metal that prioritized raw atmosphere and anti-Christian ideology over technical precision, a history chronicled in authoritative texts such as Dayal Patterson’s ‘Black Metal: Evolution of the Cult.’

While Outlaw honors this foundational spirit, their melodic and technically proficient approach places them more directly in the lineage of the second wave, particularly the Swedish school.

At a time when black metal has splintered into countless subgenres—atmospheric, post-black, folk-infused—Outlaw’s dedication to this potent, spiritually-charged style is a significant statement. With the legacy of Dissection cut short by the 2006 death of its visionary, Jon Nödtveidt, few bands have carried that specific torch with such conviction.

This clear alignment with the tradition, both sonically and philosophically, positions Outlaw not as mere imitators, but as the potential inheritors of a powerful and demanding legacy. They are part of a living tradition, contributing to a contemporary blackened thrash scene that includes veterans like Aura Noir and Destroyer 666 as well as newer acts keeping the flame alive.

The Work of Death Made Manifest

‘Opus Mortis’ will be made available to the public across several formats, ensuring its arrival in both the physical and digital realms. AOP Records will release the album on CD, vinyl LP, and through all major digital platforms.

The release schedule appears to be staggered; the digital version is set to arrive on the symbolically potent date of October 31, 2025, while numerous retailers list the physical CD and vinyl editions with a release date of December 12, 2025.

Pre-orders for all formats are currently active through the label’s official webstores and associated music retailers. At present, no tour dates have been announced in support of the album, leaving the live manifestation of this new chapter as a highly anticipated future ritual for their followers.

The Final Declaration

‘Opus Mortis’ is more than the fourth album from Outlaw; it is their definitive statement of identity. It is the resonant, violent sound of a band that traveled halfway across the world not to escape its past, but to fulfill its destiny.

The journey from the raw rebellion of São Paulo to the disciplined darkness of Dresden was a necessary rite of passage, a symbolic death required to create their most vital work. With this album, Outlaw is not just releasing new music. They are announcing their arrival.

Outlaw’s evolution was shaped by a physical migration from one continent and culture to another. How does an artist’s environment inform their sound, and which other bands do you feel have undergone a similar, profound transformation as a result of geographical change?

References:

1. Oleksii Yarmolenko, ‘The Role of Thrash Metal in the Formation of Extreme Heavy Music Based on the Interview of Musicians,’ East European Historical Bulletin 20 (2021): 220–229. ↩︎
2. Asbjørn Dyrendal, ‘The Misanthropic Luciferian Order: A Study of an Esoteric Satanic Order, in The Devil’s Party: Satanism in Modernity,’ ed. Per Faxneld and Jesper Aa. Petersen (New York: Oxford University Press, 2013), 375–394. ↩︎