Technical thrash pioneer CORONER is now unleashing a pummeling new single, “Symmetry,” along with a music video! The clip was directed by Dariusz Szermanowicz and can be found at THIS LOCATION.
After more than three decades, CORONER will be releasing a long-anticipated studio album, ‘Dissonance Theory,’ on October 17, 2025 via Century Media Records! Pre-orders are now live HERE.
Coroner’s guitarist, songwriter, and producer Tommy Vetterli comments, “This track is about vanity, ego, and how self-obsession can be destructive. That idea shaped the way we played it too. ‘Symmetry’ gave us room to explore, and with the rhythmic dimension Diego [Rapacchietti – Drums] brings, it pushed us further than we’ve gone before.”
‘Dissonance Theory’ contains ten new songs across 47 minutes, recorded by Tommy Vetterli at New Sound Studios in Switzerland and mixed/mastered by Jens Bogren at Fascination Street Studios in Sweden (Opeth, Kreator, Amon Amarth, etc.).
The album cover artwork was created by Stefan Thanneur and can be found below along with the tracklisting.
“Dissonance Theory” Tracklisting:
- Oxymoron (00:58)
- Consequence (06:15)
- Sacrificial Lamb (06:02)
- Crisium Bound (05:29)
- Symmetry (03:58) [WATCH]
- The Law (05:00)
- Transparent Eye (05:16)
- Trinity (05:41)
- Renewal (05:21) [WATCH]
- Prolonging (03:13)
Full Running Time: 00:47:21
When Swiss metal pioneers Coroner disbanded in 1996, they left a trail of deeply inspirational and influential albums. From the classically-tinged 1987 R.I.P. debut and its follow-up one year later, Punishment for Decadence, to the sleek modernisms of 1993’s Grin, their discography is a clinic in performance acumen and how to balance grace with grit and grime. In a word, they were the true definition of “progressive” music: Always laser-focused with a firm direction, Coroner never let themselves be bound by genre convention.
Ever the forward thinkers, ever the seekers of unique expression, Coroner’s main material never traded heaviness for innovation. They were a rare band that merged both in a way that was never forced or too consciously conflated. And yet we can’t forget the bolder moves along the way: The haunting closer of 1989’s No More Color, “Last Entertainment (T.V. Bizarre)” and the Beatles cover on 1991’s Mental Vortex. These might have seemed unlikely choices on paper, but they actually worked brilliantly, lending great depth to their respective albums. There was nobody like Coroner. And the bar of expectation they set, they set very high.
With all that as part of historical record, it would seem that expectations for a new Coroner album would be impossibly high. But take one listen and you understand that it’s not hyperbolic, nor cliché, to say that with 2025’s Dissonance Theory, Coroner have met and even exceeded expectation. The material, as all the best Coroner does, hangs somewhere between stealthy restraint and wild abandon.
When the band returned to the stage in 2011, with original trio formation Tommy Vetterli, Ron Broder and Marky Edelmann, new material wasn’t even a consideration. For them, they were simply happy to revive all that much-loved material and present it to old fans, as well as younger ones who weren’t around to experience Coroner live the first time around. Indeed, they are another of metal’s finest bands that gained more popularity after the initial breakup than during their era of actual operation.
A couple years after their revival, Edelmann bowed out, although Vetterli and Broder kept the machine running because, in the guitarist’s words, “we were having way too much fun”. Still, they had no intentions of recording new material with freshly-installed drummer Diego Rapacchietti. But by 2015, seeds of fresh Coroner ideas, tiny as they were, began sprouting from Vetterli’s fertile mind. Ten years later, with a new album completed, the six-stringer explains the long gestation of Dissonance Theory: “I started sketching ideas around 2015, but never found the mental space to focus fully. Life kept getting in the way — short bursts of progress, then long interruptions. Running my own recording studio means I ’m constantly producing other bands while managing the studio’s demands. After nine-hour days recording or mixing, there’s not much creative energy left at night. The actual recording sessions didn‘t kick off until June 2023 — and even those got interrupted multiple times for the same reasons.”
While Vetterli avoids mentioning particular musical artists, bands or movements as inspiration for the new material, he astutely notes, “Inspiration is just life, really. Everything you see, hear, or feel leaves a trace — music, films, books, the state of the world, personal stuff. Sometimes it’s something big. Sometimes it’s just a tree standing alone on a hill somewhere. That can be enough. It’s never about specific bands or styles — more about what hits you at the right moment.”
It was also the presence of Rapacchietti that fueled Vetterli and Broder’s constructions as new material came together. “Diego brings a level of technical precision and musicality that opened up entirely new dimensions in our songwriting,” says Vetterli. “His versatility allowed us to explore fresh territory without losing ourselves. Especially rhythmically, we were able to push things further than ever before.”
The album’s first tracks establish that the Coroner sound is intact, even 30 years after their initial run. In tone and texture, “Consequence” and “Sacrificial Lamb” are not terribly far away from the band’s early ‘90s material. These offerings unite the focused hypno-drone of Grin with the clean-kill post-thrash technicality of Mental Vortex. Yet that’s only an approximation of where the album sits in the sonic space. It’s after these that the scope widens. Ultimately, Dissonance Theory claims its own ground, sounding like an album that could’ve been released in the late 1990s, but one clearly informed by the variety of inspirations noted above and the many years lived between then and now.
It seems impossible after all the time elapsed, but this is Coroner at its best. We hear evidence of this on songs such as “Crisium Bound”, with its spacious dark pulse, and “Symmetry”, which is driven by drummer Rapacchietti’s colorful backing over one of the most exciting guitar solos Tommy Vetterli has ever composed. Broder’s bass lines are as commanding as ever throughout, and his arrogant snarl remains packed with bile and spite, as if 30 years had never passed. Sumptuous passages in “Transparent Eye” recall the atmospheric material the band were working on before their initial breakup, but merged with a stabbing momentum and a few tricky rhythms. A modern-day classic Coroner song.
Perhaps this all comes off so well because the band didn’t overthink anything. They understand the pressure of coming back with their first material in three decades, but they shook off that pressure and simply let Coroner be Coroner. As Vetterli notes, “I thought a lot about what Coroner should sound like today — but I pretty quickly realized that looking backwards would’t serve us. What’s past is past. So much time has passed, and we’re not the same people. Just like we didn‘t care about trends back then, we didn’t try to make this record for anyone but ourselves. We weren’t trying to continue a legacy — we were just trying to create something honest and present.”
Further into the album, it becomes ever more apparent that their approach was the right one. “Trinity” shows Vetterli as the hugely underrated guitarist he’s always been: Its solo section is one that probably couldn’t have even been conceived of 30 years ago. It’s imbued with a kind of wisdom and experience that expresses itself in interesting melodic choices and wild fingerwork, brilliant melodic sparks flying from his instrument.
As we approach the culmination of the album, the well-titled “Renewal” is ablaze with energy, its vigorous pulse a statement of intent for this era of return. And in final track, “Prolonging”, we get another brave album conclusion from the band, featuring Hammond organ over beguiling, hypnotic metal drama, as Broder spits out a final question: “What remains? What remains?”
‘Dissonance Theory,’ in totality, is rich in sonic detail, a stereophile’s delight. Part of that can be attributed to the expert mixing/mastering by Jens Bogren at Fascination Street Studios in Sweden. But the production, arrangement and soundscape details are largely the work of Vetterli and a longtime creative partner at his own New Sound studio. Vetterli notes, “At some point, I felt something was missing — a kind of creative counterweight. Someone to reflect things back with a fresh, critical ear. That’s when I brought in a longtime collaborator I’ve worked with for years at my studio. He helped push things into new territory and gave me the clarity and momentum Dissonance Theory needed to move forward. We made a point throughout the production to record as many authentic, organic sounds as possible. The studio was packed with tube amps, analog synths, and vintage instruments — including a harmonium and a grand piano — and we put them all to good use. We’ve worked together on many other productions, so the trust was already there. We get into that whole collaboration — and how it evolved — more deeply in the CD mediabook edition.”
Coroner are offering a work that proves they know themselves and what their band should sound like. No Coroner fan could possibly be disappointed in Dissonance Theory. It’s like a massive bonus from a band we all thought had spent their creative energies decades ago. “They don’t make albums like this anymore”. Ever heard that one? Coroner proves they were not only always in metal’s top tier, but that anything less than a ferocious return such as this would never have been the Coroner way.
Lineup:
Ron Royce – Bass/vocals
Tommy T. Baron – Guitars
Diego Rappachietti – Drums
Recording: Tommy Vetterli at New Sound Studios in Switzerland
Mixing + Mastering: Jens Bogren at Fascination Street Studios in Sweden
Links: Facebook – Instagram – Official Website – Spotify – Apple Music – X
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