Take a quick peek ahead. Think Volume 5 is a bit heavy on the death metal? Look closer. Also included are two of Norway’s all-time kings, career albums by masters of grind and prog, and one of the most important black metal albums in the genre’s history.
Not enough?
Fine; you also get Black Fucking Sabbath.
Nasum - Human 2.0
Human 2.0 brought grindcore out of the realm of gritty nostalgia and into
the new millennium. Nasum’s catchy hooks and surprising use of melody made them the ire of
many of grindcore elitists, but there’s no doubt that this is
the band most responsible for the growth of the genre into what we know it as
today. Brutally raw and unforgiving--yet remarkably memorable and well-composed--Human 2.0 introduced new possibilities for intricacy and
variation in grind songs. Even years later, the palpable energy of tracks like
“Shadows” and “Multinational Murderers Network “ continue to put most
contemporary grind acts to shame. [Relapse,
2000]
Weakling - Dead As
Dreams
Perhaps this was the
natural progression of black metal: to become even more despondent and
desperate than the forefathers in Europe. Dead As Dreams is a prime example
of music that seems to be a soundtrack to suicide. To some, this is a work of
pure genius; a single full-length release and breakup that guarantees no fall
from greatness. When it comes to black, droning despair, few albums are in
league with this highly influential vision of misery. [Tumult, 2000]
Emperor - Prometheus:
The Discipline Of Fire And Demise
The swansong of one
of black metal's greatest bands. Ihsahn thrust two middle fingers skyward
and released one of the most melodically ambitious albums the genre has ever
seen. Rambunctious, progressive, and highly controversial in many circles,
Emperor ended its studio career with a record that has yet to be equaled by
anything the former members have produced since, while leaving their faithful
fans hoping in vain for a return. [Candlelight, 2001]
Dream
Theater - Six Degrees of Inner Turbulence
It seemed
an impossible task for Dream Theater to match 1999’s incomparable Metropolis
Pt. 2: Scenes from a Memory, but the prog metal pioneers came pretty
damn close with Six Degrees of Inner Turbulence. Broader in
scope and heavier, the double album includes the band’s magnum opus: the eight-part,
42-minute epic title track, which features all the noodly prowess the band is
known for, tempered with outstanding songwriting and arrangement. [Elektra,
2002]
Enslaved - Below
the Lights
Already known to mix
black metal with prog, psychedelia, and space rock, Enslaved threw the
book completely out the window on Below the Lights. From the Deep
Purple-ish keys in “The Dead Stare,” to the chanting in “Havenless,” to the jazz
flute and extended soloing in “Queen of Night”, surprises are around
every corner. Fortunately, Enslaved have the skills to make absolutely zero
of it seem out of place. Through it all, it retains the coldness of their early work, proving that no matter how far they
veer from Hordanes Land, a part of them is always home. [Osmose,
2003]
Considering the role tech death has played in forming the
current landscape of metal, failing to mention Anata’s third album would be
unforgivable. So challenging, yet so very addictive and intelligent, this was a
tooth-rattling endeavor that became the album to beat when Top 10 lists made
their rounds at the end of 2004. As remarkable as followup The Conductor’s
Departure turned out to be, even that couldn’t match the technical hurricane
this album conjured up. [Wicked World, 2004]
Nile had already assumed the role
of death metal’s newest tour de force with In Their Darkened Shrines, but
it was Annihilation of the Wicked that really delivered on the promise
shown on the band’s first few LPs. This was due to the introduction of
huge drumming talent George Kollias, as well as the immaculate
production of Neil Kernon and the increased emphasis on Dallas Toller-Wade’s
vocals. But more importantly, Annihilation saw Nile adding entirely new dimensions to
their punishing sound, matching their incredible speed with crushing, anthemic
slowdowns heavy enough to topple the highest monoliths of ancient Egypt.
[Relapse, 2005]
Arlington,
Texas' Solitude Aeturnus has never really been known as the most
prolific of heavy metal bands, but waiting a full eight years between releases was
just downright cruel to fans of their immensely epic brand of doom. Of course, Alone proved to be well worth the wait, delivering nine grandiose tunes featuring perfect deliveries from all players
involved. It's honestly as close to a flawless, epic doom metal record as you
can get, but let's just hope we don't have to wait an additional five years before
their next release! [Massacre, 2006]
Dismember are now the
undisputed pinnacle of Swedish death metal, releasing back-to-back classics in
The God That Never Was and this self-titled barn-burner, awesome even without
former drummer/mastermind Fred Estby. Between
massive riffs and that sweet, sweet Swedish guitar tone, this one stomped its
way to the top of the band’s canon, a catalog already rife with killer records. Matti Karki’s growl is among the best in the
business, even twenty years into his career. We dare you to crank “Europa Burns” and not bang your damn head.
[Regain, 2008]
You can
argue about the quality of The Devil You Know all you want. What cannot be argued is the importance
of a Dio-fronted Black Sabbath releasing a new album in the new
millennium. From the ominous "Bible
Black" to the spine-tingling "Follow the Tears," the parties
involved proved that there is still plenty of creative fuel in their collective
tank even after 40 years of metal. Hail
to the Stonehenge Gods? You bet your
ass. [Rhino, 2009]
We're at the halfway point: fifty more albums to go. Haven't seen your favorite yet? Click here to check out Volumes One through Four--maybe you missed it. If not, hang in there...five more weeks remain. See you next time.
Posted
Oct 02 2009, 03:00 PM
by
Rev