1990s Metal & Hard Rock Albums

Tuonela keeps Amorphis’s heavy guitar foundation while giving greater weight to quiet keyboards, folk-tinged melody and a submerged atmosphere.

Criteria for a Black Widow shapes high-tension thrash metal from slicing riffs, sudden turns and intricate guitar work.

Burning Bridges links weighty riffs, fast cutting lead guitar and harsh vocals in Arch Enemy’s aggressive melodic-death approach.

Sonic Brew establishes Black Label Society through weighty riffs, earthy blues feeling and rough vocal delivery.

Being Human builds melody-centered hard rock from clear vocals, lyrical keyboards and finely detailed guitar.

Buckcherry arrives with bluesy guitar riffs, gritty vocals and a dangerous rock-and-roll rush.

Burning Rain’s debut combines thick guitar riffs, blues-rooted lead work and soulful vocals.

Cathedral's fifth album, released in January 1999 and produced by Andy Sneap, with songs drawn from a Hammer horror film and The Omega Man.

Hatebreeder fuses cutting guitar riffs, rapid drumming and flamboyantly active keyboards into Children of Bodom’s distinctive attack.

Road of Desire combines thick guitar riffs, forceful rhythm and melancholy-tinged melody in Damned Nation’s melodic hard rock.

Shadowland is Dark Moor’s debut, combining classical keyboards, fast guitar and story-minded melody.

Projector expands Dark Tranquillity’s melodic-death language with clean vocals, piano and a pronounced gothic shade.

Euphoria brings Def Leppard’s signature strengths back to the foreground: stacked harmonies, polished guitar work and hooks built for instant lift.

Dir En Grey's debut album, released on 28 July 1999, thirteen tracks running 64:47.

Erase the Slate organizes sharp guitar work, firm rhythm and melancholy-tinged vocals into a return to classic melodic metal.

Metropolis Pt. 2: Scenes from a Memory joins complex rhythm, fluent soloing and memorable vocal melody into a single narrative arc.

Theater of Salvation combines the drive of fast metal with dramatic development, keyboard color and large choral hooks.

Stairway to Fairyland is Freedom Call’s bright, fantasy-tinged power-metal debut, built from soaring melody, brisk rhythm and sparkling keyboards.

Power Plant gathers fast twin guitars, clear high vocals and expansive choruses into a quintessential Gamma Ray power-metal record.

Open combines thick guitar riffs and songful melody in Gotthard’s broad, arena-ready hard-rock style.

Great White's ninth studio album, produced by Jack Blades, came out in Japan in May 1999 and then on Portrait in the US.

Rubber finds Harem Scarem loosening its established melodic-hard-rock shape and bringing in tighter beats and more alternative-leaning textures.

Metal Jukebox is a covers album on which the Deris-era HELLOWEEN reworks songs from hard rock, progressive rock and pop that shaped the band.

HIM's second album, published in Finland in December 1999 and internationally in January 2000. "Join Me in Death" is the single that carried the band up.

Immortal's fifth album, issued by Osmose Productions in 1999. It fuses black metal with thrash, and it is the turn in their course.

Colony weaves chiseled riffs, rapid drums and memorable twin-guitar melody into a high-density In Flames record.

Unification builds steel-plated power metal from mechanical riffing, heavy rhythm and heroic vocal melody.

The Fourth Legacy gathers heavy riffs, flowing keyboards and narrative-minded melody into a grand Kamelot power-metal statement.

Katatonia's fourth album, issued by Peaceville in 1999. It moves away from metal towards alternative rock, and it is the turn in their course.

Issues layers low, unsettling guitar, bouncing bass and nervous rhythm to make Korn’s themes of isolation and anger feel especially close.

Kreator's ninth studio album, from 1999 and the furthest they went towards gothic metal.

The sixth L.A. Guns studio album, released in 1999 and the only one with Jizzy Pearl on vocals. The Japanese edition appeared on 24 July 1999 as ZACB-1008. Twelve songs.

Lacuna Coil's first full-length album, recorded with Waldemar Sorychta in Germany in late 1998 and released by Century Media in February 1999.

Burn the Priest is a useful way to hear LAMB OF GOD from a different angle within the 1999 catalogue.

Queen of the Ocean paints a fantasy-tinged rock world with expansive keyboards, dramatic guitar and Lana Lane’s clear vocal presence.

Fields of Yesterday highlights Lillian Axe’s shaded melodies and carefully shaped guitar arrangements.

Engine is the fourteenth Loudness album, released by Rooms Records on 7 July 1999. It was the third and last studio record by the line-up of Takasaki, Yamada, Shibata and Homma.

The Burning Red retains Machine Head’s heavy riff foundation while bringing in bouncier rhythm, more dynamic vocals and modern production.

Risk deliberately pulls back from Megadeth’s usual thrash attack and moves toward smoother melody, mid-tempo groove and more pop-shaped arrangements.

Masterpeace attacks with heavy guitar riffs, hard-edged drums and urgent vocals, reaffirming Metal Church’s traditional heavy-metal force.

The fourth solo album, with Monroe playing almost every instrument himself; Andy McCoy shares a writing credit and Hanoi Rocks' "Self Destruction Blues" is revisited.

The Unforgiven builds on Michael Schenker Group’s melodic hard-rock strengths: sharp riffs, singing lead guitar and songs shaped around real emotional movement.

Angelfire combines smooth vocal melody, shimmering keyboards and polished guitar in Millenium’s melodic-rock approach.

Ministry's seventh album, out on 8 June 1999. It is the last record they made for Warner Bros.

Neurosis's sixth album, released in 1999. It is the first they made with Steve Albini, and a reference point for what is called post-metal.

Nevermore's third album, issued by Century Media in 1999. It is a concept record following one man's slide out of his mind.

Nine Inch Nails' third album, issued by Nothing and Interscope in 1999. Twenty-three pieces across two CDs, a good many of them instrumental.

The Sacred Talisman combines fast rhythm, bright guitar melody and clear, soaring choruses in Nocturnal Rites’ power-metal mode.

Opeth's fourth album, from October 1999, and the first with the bass player Martin Mendez.

Overkill's covers album, from October 1999: it opens with Motörhead's "Overkill", from the album the band is named after, and runs from punk to hard rock.

Overkill's tenth album, released in February 1999 and recorded at the Carriage House in Stamford late in 1998, produced by the band with Andy Katz.

Paradise Lost's seventh album, released by EMI Electrola on 24 May 1999, with electronics ahead of the guitars: their most adventurous work yet, as the band said then.

An eighth album whose opener, "Snakes in Eden," the band later re-recorded and kept.

Jaws of Death brings together thick guitar chug, forceful drums and piercing high vocals in Primal Fear’s heavy traditional-metal attack.

Q2K reduces some of Queensrÿche’s more elaborate progressive machinery and presents vocals and riffs in a more direct rock form.

Alive and Well puts Quiet Riot’s upbeat rock-and-roll spirit and big singable choruses back in front.

Ghosts draws Rage slightly away from its usual sharp metal attack and gives more attention to acoustic resonance and quieter melody.

The Battle of Los Angeles unites bouncing bass, hard drums, unorthodox guitar sounds and sharply delivered words in Rage Against the Machine’s tense political rock.

Ratt centers on dry, sharp guitar riffs, spring-loaded rhythm and a vocal presence with a little danger in it.

The studio album that followed Everything Louder. The band's own album gallery files it under 2000.

Sons of Society brings together driving rhythm, sharp twin guitars and rising vocal melody in Riot’s power-metal mode.

Fear builds dramatic melodic metal from thick keyboard orchestration, hard guitar and expansive vocal melody.

Red Voodoo is a useful way to hear SAMMY HAGAR from a different angle within the 1999 catalogue.

Saxon's fourteenth album, released in 1999. It is the first with Fritz Randow on drums, though the opening Intro is Nigel Glockler's.

Eye II Eye finds Scorpions expanding beyond their familiar hard-rock frame with programming, pop texture and a more contemporary compactness.

Regeneration is centered on unreleased material and offers another chance to hear Shy’s soaring choruses, lyrical vocal melodies and polished guitar work.

Back to Reality retains Slaughter’s catchy melodies and smooth choruses while moving into a more settled rock texture.

Slipknot’s debut collides heavy riffs, accelerating drums, layered percussion and screaming vocals into an overwhelming whole.

Ecliptica announces Sonata Arctica with rapid rhythm, sparkling keyboards and high, urgent vocals.

The sixth album, with tributes to Frank Zappa and Stevie Ray Vaughan, and a guest turn from B'z.

The Gathering pushes Testament into a particularly aggressive space, layering sharp thrash riffs with a low, heavy sound.

The Dillinger Escape Plan's debut, issued by Relapse on 28 September 1999. It is the record that settled what mathcore means.

The Hellacopters' third album, released on 17 May 1999 and the first of theirs to reach the Swedish top ten.

Transistor places electronic texture and tight beats alongside TNT’s melodic hard-rock foundation.

All Eternity introduces To/Die/For through heavy guitars, shadowed keyboards and low, emotional vocals.

Mindfields uses Toto’s considerable musicianship in service of atmosphere rather than display.

Holy puts U.D.O.’s core elements directly up front: heavy riffs, a marching beat and a distinctive, powerful vocal.

Helldorado drives forward with thick guitar riffs, heavy beats and Blackie Lawless’s theatrical vocal presence.

Alchemy concentrates Yngwie Malmsteen’s neoclassical language into a dense mix of baroque-minded harmony, rapid scale work and dramatic riffs.

Anathema's fourth album, issued by Peaceville in 1998. Its title comes from a book about conspiracies, and its subject is trust.

Fireworks threads Brazilian rhythmic character, progressive movement and delicate melody through Angra’s power-metal drive.

Volume 8: The Threat Is Real keeps Anthrax’s thrash sharpness at the core while bringing in thick groove, hard-rock hooks and contemporary weight.

Inquisition Symphony uses the low end and sharp attack of cellos to translate metal riffs into a different kind of sound.

Stigmata is an early Arch Enemy record that combines cutting riffs, expressive lead guitar and harsh vocals.

Total 13 by BACKYARD BABIES: track list, Spotify player and English liner notes on METAL BOOST.

Adult Orientation combines smooth keyboards, polished guitar and bright, opening choruses in Bad Habit’s AOR/melodic-rock world.

Blind Guardian's sixth album, issued by Virgin in 1998. It is a concept record built on Tolkien's The Silmarillion.

Sensitive Pictures is an early Blindman album built from soaring vocals, sharply defined guitar work and keyboard color.

Cradle of Filth's third album, issued by Music for Nations in 1998. It is a concept record following the legend of Elizabeth Báthory.

Four the Hard Way brings together catchy choruses, crisp guitar and a bright rock-and-roll lift.

David Lee Roth's 1998 album credited to the DLR Band, released on his own Wawazat!! label on 9 June and recorded and mixed in ten days.

Abandon brings Deep Purple’s heavy organ, blues-minded guitar and flexible rhythm into a mature hard-rock statement.

Infinity joins Devin Townsend’s layered guitars, unpredictable movement and fragile, highly melodic writing.

Vain Glory Opera gathers fast riffs, soaring high vocals and chorus lines made for collective singing.

Fear Factory's third album, issued by Roadrunner in 1998. It is a concept record built on "Conception 5", a story written by Burton C. Bell.

Category 5 combines Firehouse’s soaring vocals, clean guitar work and easy-to-grasp choruses.

Godsmack’s debut combines low-tuned guitar, dragging rhythm and rough-edged vocals.

Gorguts' third album, issued by Olympic Recordings on 23 June 1998. It pushes dissonance and experiment to their limit inside technical death metal.

It’s Only Rock ’n’ Roll is an early Hardcore Superstar album built from rough guitar, forward-charging beat and provocative vocals.

Big Bang Theory keeps Harem Scarem’s melodic-hard-rock foundation while moving into a harder, more contemporary guitar texture.

Better Than Raw lets Helloween balance fast riffs, bright melodies and a sense of play.

Virtual XI builds an epic atmosphere through heavy riffs, bass-led melody and extended song structures.

The seventh album and his first for Epic, and the first on which he recorded with a seven-string guitar.

Siege Perilous is an early Kamelot album that adds classical color and story-minded drama to melodic-metal power.

Psycho Circus gathers thick guitar riffs, handclap-ready beats and choruses made for everyone to sing.

Follow the Leader expands Korn’s unique heaviness through low, rolling bass, bouncing rhythm and vocals that expose raw hurt.

Return to Heaven Denied combines fast guitar, vivid keyboards and soaring vocals in Labyrinth’s dramatic power-metal style.

Lacuna Coil's first record, a six-song EP produced by Waldemar Sorychta at Woodhouse Studio in Germany and released by Century Media in 1998.

Garden of the Moon centers Lana Lane’s clear vocal tone within symphonic keyboards, melodic guitar and a sense of cosmic space.

Under Fire brings together forceful vocals, thick guitar and clear choruses in a melodic hard-rock setting.

Dragon is the thirteenth Loudness album, released by Rooms Records on 5 August 1998 — the second record by the line-up of Takasaki, Yamada, Shibata and Homma.

First Breath is Mercenary’s debut, combining thrash/death-metal sharpness with melodic guitar and shifting arrangements.

Garage Inc. is a strongly conceptual covers album on which METALLICA translated a number of songs it reveres into their own sound.

Monster Magnet's fourth album, out on 16 June 1998. "Space Lord" carried it to RIAA gold, and it is the band's biggest commercial success.

Snake Bite Love was released on 10 March 1998, its sleeve drawn by Joe Petagno, who created the band's Snaggletooth logo. Victor issued the Japanese pressing as VICP-60315.

Mourning Widows combines sharp guitar cutting, thick groove and alternative-rock shadow around Nuno Bettencourt’s playing.

The State is an early Nickelback record built from heavy guitar, hard rhythm and a grainy vocal delivery.

Seven brings Night Ranger’s soaring vocals, interlocking guitars and wide-open choruses back to the foreground.

Oceanborn combines shining keyboards, fast guitar and operatic vocals in Nightwish’s symphonic-metal language.

Opeth's third album, from August 1998, the first on which every song runs under ten minutes and the first built as a single story.

Flying Dog gathers Paul Gilbert’s fast, precise guitar, flexible rhythmic sense and playful ideas into a lively rock record.

King of Clubs combines Paul Gilbert’s quick, vivid guitar playing with a pop-minded sense of melody.

Electrified combines strong vocals, low-slung guitar weight and open, anthemic choruses.

The sixth Praying Mantis studio album, released by Pony Canyon on 17 June 1998 as PCCY-01257 — the first with Tony O'Hora singing. Ten songs.

Primal Fear’s debut presents traditional heavy metal with soaring vocals and heavy guitar riffs as its main weapons.

Queens of the Stone Age's debut album, from September 1998, made by Josh Homme after the end of Kyuss with Homme playing most of the instruments himself.

XIII by RAGE: track list, Spotify player and English liner notes on METAL BOOST.

Symphony of Enchanted Lands combines grand keyboards, fast guitar and heroic melody in Rhapsody of Fire’s symphonic power-metal world.

Frozen by SENTENCED: track list, Spotify player and English liner notes on METAL BOOST.

Sepultura's seventh studio album, from 1998, the first with Derrick Green singing and the one Kodo play on.

The first Nuclear Blast album, and a deliberate turn back toward straight heavy metal. It reached number 63 in Germany and was followed by a support tour with Deep Purple.

Diabolus in Musica builds an oppressive heaviness from low, heavy guitar, hard-carved rhythm and cutting vocals.

Steelbath Suicide is Soilwork’s debut, driven by fast riffs, harsh vocals and aggressive rhythm.

Destiny uses fast guitar, shining keyboards and soaring vocals to create grand-scale power metal.

Twilight in Olympus joins classical harmony, intricate rhythm and powerful vocals in Symphony X’s progressive-metal world.

System of a Down's debut album, out on 30 June 1998: thirteen songs produced by Rick Rubin with the band, including the singles Sugar and Spiders.

Truth brings supple bass, crisp guitar and expressive vocals together in Talisman’s melodic hard-rock world.

The Haunted's debut album, released in June 1998, twelve tracks running 40:46.

No Limits puts steel-edged riffs, forceful rhythm and Udo Dirkschneider’s unmistakable voice at the front of a traditional heavy-metal statement.

Ulver's fourth album, issued by Jester Records in 1998. It is a double album setting William Blake's poem to music in full.

Van Halen III brings a new voice into the band and reaches toward wider song forms and longer developments than the group’s usual template.

Tangerine retains Vixen’s melodic sense while moving toward drier guitar textures and a more alternative-leaning atmosphere.

Concerto Suite for Electric Guitar and Orchestra is a useful way to hear YNGWIE MALMSTEEN from a different angle within the 1998 catalogue.

Nine Lives reconnects Aerosmith with thick riffs, loose-moving rhythm and Steven Tyler’s unruly vocal presence.

Remains retains some of Annihilator’s thrash momentum while boldly bringing in programmed-feeling rhythm and colder sound.

Crossing the Rubicon is Armageddon’s debut, joining aggressive guitar, rough vocals and melancholy lead work.

Voodoo Vibes adds heavier guitar and tighter rhythm to Axxis’s melodic hard-rock core.

Something Wild is Children of Bodom’s debut collision of fast guitar and keyboard, rough vocal and classical melody.

The Mind’s I combines cutting guitar, low growls and melancholy melody in Dark Tranquillity’s early sound.

David Lee Roth's 1997 Rhino compilation: nineteen songs from his five Warner releases of 1985 to 1994, opened by the new "Don't Piss Me Off".

Ocean Machine: Biomech joins Devin Townsend’s huge guitar layers, wide space and fragile melody.

Dimmu Borgir's third album, issued by Nuclear Blast on 30 May 1997. It was made at Peter Tägtgren's Abyss Studio, and it is where the band broke through.

Shadowlife moves Dokken away from glossy melodic hard rock toward lower-feeling guitar and a heavier atmosphere.

Falling into Infinity finds Dream Theater tightening its long-form construction and trying to place technique and melody inside more compact songs.

Kingdom of Madness is Edguy’s debut, built from fast riffs, high-reaching vocals and heroic choruses.

Electric Wizard's second album, issued by Rise Above Records in January 1997. It was made deliberately rough, and it is one of the far points of 1990s doom.

Go! brings warm guitar, thick harmony and Tommy Heart’s emotionally rich vocal together with high-level care.

A Pleasant Shade of Gray follows one extended composition through anxiety, isolation and quiet release.

Somewhere Out in Space brings fast riffs, thick choruses and futuristic storytelling into a large Gamma Ray concept.

Believe, the Japanese title for this period of Harem Scarem, keeps the band’s melodic strength while making the guitar tone and rhythm heavier and drier.

Karma Cleansing, also issued as Believe in another territory, connects polished harmony with more modern guitar weight.

The debut album on Victory Records: fourteen songs in about thirty minutes, and a landmark of Connecticut and New York hardcore.

HIM's debut, published in Finland in November 1997. Nine songs are followed by fifty-six tracks of silence, with a hidden one at number 66.

Whoracle brings sharp riffs, flowing twin guitar and intense vocals together with high density.

Iron Savior’s debut combines heavy guitar, heroic choruses and science-fiction storytelling.

20th Century centers on John Sykes’s thick, singing guitar and his melancholy vocal character.

Loveland is John Sykes's second solo album, built around ballads rather than the hard-rock attack he was known for.

Jugulator brings lower, heavier guitar and forceful aggression to the front of Judas Priest’s restart.

Dominion combines heavy guitar and dramatic melody with restrained classical color.

Carnival of Souls: The Final Sessions moves KISS away from celebratory rock and roll toward dark guitar, sunk rhythm and more introspective vocal mood.

Kreator's eighth studio album, from July 1997, made at the height of their gothic and industrial period.

Ghetto Machine is the twelfth Loudness album, released in Japan by Rooms Records on 5 July 1997. It was recorded at Fantasy Studios in Berkeley, California, and was the first album with bassist Naoto Shibata.

The More Things Change... intensifies Machine Head’s heavy riffs, rough shouts and twisted groove.

Cryptic Writings retains Megadeth’s thrash-rooted tension while moving toward cleaner construction and more immediate choruses.

Reload deepens Metallica’s late-1990s rock approach through thick, rolling riffs, low-slung groove and rough vocal delivery.

Millenium’s debut centers on Ralph Santolla’s expressive guitar and Todd Plant’s strong vocal, joining AOR polish to melodic-metal heat.

Generation Swine reunites Mötley Crüe with Vince Neil but refuses a simple return to the glam-metal formula.

Neverland carefully rebuilds Night Ranger’s strengths: open melody, twin-guitar color and expansive chorus.

Angels Fall First is Nightwish’s debut, combining acoustic color, rushing metal and Tarja Turunen’s classical vocal presence.

Tales of Mystery and Imagination is Nocturnal Rites’ debut, layering fast riffs, lyrical keyboards and open vocals.

Outrage's seventh album, out on 25 January 1997. It is the last full-length by the four-man line-up before Naoki Hashimoto left in 1999.

Overkill's ninth album, released in September 1997: the first mixed by Colin Richardson, heavier and darker, with a nod to the textures of its decade.

Paradise Lost's sixth album, released on 14 July 1997: electronics to the fore, a top-ten album across much of Europe, and the occasion of a tour of Japan.

Food for Thought combines weighty riffs, clear vocals and memorable choruses in Pink Cream 69’s melodic hard-rock language.

A seventh album of thirteen songs, the longest of the period, opening straight out of its intro.

Hear in the Now Frontier finds Queensrÿche reducing some of its elaborate progressive construction in favor of drier guitar and more direct songs.

Rammstein's second album, released on 22 August 1997. It is the only album entirely in German to be certified platinum by the RIAA.

A fifteen-track studio album from 1997, closing out the stretch the band spent working around the German metal scene.

Legendary Tales is Rhapsody of Fire’s debut fusion of classical keyboard, fast guitar and fantasy storytelling.

Inishmore combines heroic riffing, singable melody and Celtic color in Riot’s late-period metal.

Paradox combines thick keyboard work, dramatic chorus and heavy guitar in a concept-driven Royal Hunt record.

Marching to Mars places hard-driving rockers beside reflective ballads, bringing Sammy Hagar’s heat and human directness to the front.

Savatage's tenth album, released in September 1997: the tale of an old sailor called Magellan, woven around a real stowaway case and the murder of the journalist Veronica Guerin.

Saxon's thirteenth album, from May 1997. It is the first with Doug Scarratt on guitar, and he has held the second guitar chair ever since.

Somber Eyes to the Sky is Shadows Fall’s debut collision of rough riffing, shouted vocals and lyrical guitar.

Revolution retains Slaughter’s high vocal lines and hook sense while moving toward lower, heavier guitar and more varied songwriting.

Strapping Young Lad's second album, issued by Century Media in 1997. It is the first Devin Townsend made with a permanent line-up.

Visions combines fast guitar, flowing keyboard and Timo Kotipelto’s high vocal range with unusual clarity.

The Divine Wings of Tragedy unites sharp riffing, classical-flavored keyboards and complex development in Symphony X’s major leap forward.

Demonic keeps some of Testament’s thrash bite but brings lower, slower and heavier pressure to the foreground.

The Hellacopters' second album, released on 1 October 1997 and the last studio record Dregen made with them before leaving.

Endless, Nameless throws the Wildhearts’ strong melodic sense into noise, processed sound and ragged arrangement.

Firefly finds the reunited TNT tightening its glossy hard-rock image and moving toward heavier guitar and darker arrangement.

Solid is traditional heavy metal driven by Udo Dirkschneider’s metallic voice, thick riffs and concise song construction.

Voivod's ninth studio album, from 1997 and the second and last with Eric Forrest on bass and vocals.

Kill Fuck Die breaks away from W.A.S.P.’s expected glam and traditional-metal contours with mechanical beats, distorted guitar and abrasive language.

Restless Heart combines bluesy guitar, soft keyboard and David Coverdale’s deep, settled vocal presence.

Enter is Within Temptation’s debut, combining sinking heavy guitar, spectral keyboards and Sharon den Adel’s clear voice.

Endangered Species brings together thick riffs, blues-rooted guitar and Dave Meniketti’s heated vocal presence.

Facing the Animal combines fast scalar runs, classical-flavored melody and thick riffs in Yngwie Malmsteen’s guitar-centered world.

Predator brings Accept’s hard-edged riffs and Udo Dirkschneider’s cutting voice into a heavier, more contemporary frame.

Elegy keeps the weight of death metal while opening the music to clean vocals, airy keyboards and folk-colored melody.

Holy Land layers power-metal speed with classical grandeur, Brazilian rhythm, choral color and acoustic detail.

Refresh the Demon puts Annihilator’s balance of razor-sharp riffs and memorable hooks back in the foreground.

Plays Metallica by Four Cellos proves how naturally the weight of metal riffs can meet the force of low-register cello.

Black Earth is the early Arch Enemy blueprint: cutting riffs, mournful twin-guitar lines and raw vocals locked together with precision.

Arena keeps Asia’s keyboard-led drama while widening the palette with acoustic guitar and percussion.

Burzum's fourth album, recorded in March 1993 and released in January 1996. It brings repetition and ambient technique into black metal.

Carcass's fifth album, released in June 1996 after the band had already broken up, and their last record for seventeen years.

Cathedral's fourth album, released in October 1996. Recorded straight off a long tour with almost no preparation, it includes songs drawn from sci-fi.

Cradle of Filth's second studio album, from November 1996: the record that carried the band's name out of England, and a gothic black metal classic.

Cryptopsy's second album, issued by Wrong Again Records on 3 July 1996. This Canadian record is technical and brutal at the same time.

Purpendicular finds Deep Purple gaining a new set of gestures with Steve Morse on guitar.

Slang deliberately reduces Def Leppard’s grand polished sheen and turns toward lower, heavier guitar, dry rhythm and more inward-looking songs.

Dio's 1996 studio album, made with the Strange Highways line-up of Tracy G, Jeff Pilson and Vinny Appice and produced by Ronnie James Dio himself.

Rotator uses the agility of Dizzy Mizz Lizzy’s three-piece format to balance shifting rhythm with broad melody.

Good Acoustics revisits FireHouse’s familiar melodies in acoustic settings and shows how strong the songs remain on their own.

G. presents Gotthard’s melodic hard rock directly through thick riffs and Steve Lee’s open, powerful voice.

Great White's eighth studio album came out first in Japan, from Victor Entertainment in February 1996, and then on Imago in the US.

The Time of the Oath brings Helloween’s power metal back into full view through racing riffs, bright extended melody and weighty choruses.

The Jester Race retains extreme speed and bite while pushing twin-guitar melody into a leading role.

Trial by Fire reunites Steve Perry, Neal Schon and Jonathan Cain around the large-scale melody associated with Journey, now delivered with a more mature temperature.

Life Is Peachy collides low, twisting guitar and bass with bouncing rhythm and Jonathan Davis’s urgent voice.

The fifth L.A. Guns studio album, released by CMC International on 29 October 1996 and reaching for an industrial surface across its thirteen songs. The Japanese edition followed on 21 November as BVCP-984.

No Limits presents Italian power metal directly through fast twin guitars, bright keyboards and open, soaring vocals.

Curious Goods builds fantasy-tinged progressive rock around dense keyboard layers and Lana Lane’s clear voice.

Marilyn Manson's second album, issued by Nothing and Interscope on 8 October 1996. It is a concept record built over eight months in New Orleans.

True Obsessions centers on Marty Friedman’s singing lead voice and his distinctive use of Eastern and Middle Eastern scale colors.

Load finds Metallica looking for new kinds of weight through thick groove, bluesy riffs and more reflective vocals rather than relying only on thrash speed.

The third solo album, made after Demolition 23. broke up and released by Finland's Poko Rekords: ten songs including covers of MC5 and The Damned.

Written in the Sand is built carefully around Michael Schenker’s fluid, singing guitar voice and a melodic hard-rock framework.

Ministry's sixth album, out on 30 January 1996. It includes a reading of Bob Dylan's Lay Lady Lay.

Released on 15 October 1996, Overnight Sensation is the first album made by the three-piece of Lemmy, Phil Campbell and Mikkey Dee, after Würzel's departure.

Hey Man uses Paul Gilbert and Billy Sheehan’s virtuosity in service of the songs, keeping Eric Martin’s melody at the center.

Nevermore's second album, from 1996. It takes its title from Timothy Leary's book of the same name and runs sixty-two minutes, closing with the sixteen-minute "The Learning".

Curb presents Nickelback’s starting point with a raw, close-up sound rather than the large-scale rock image of later years.

Opeth's second album, issued by Candlelight on 24 June 1996. Five songs run for sixty-six minutes, and it is the defining record of their early years.

Overkill's eighth album, released in March 1996: their first after leaving Atlantic, with a new guitar pair in Joe Comeau and Sebastian Marino.

The Great Southern Trendkill sharpens Pantera’s destructive groove and forces noise, speed and crushing weight into a single sound world.

End of All Days keeps the symphonic imagination opened up by its predecessor in the background while returning Rage’s speed and riff-driven momentum to the front.

Lingua Mortis places Rage’s heavy metal directly against orchestral force and greatly expands the music’s dramatic scope.

Evil Empire binds funk-rooted rhythm, rap’s sharp cadence and Tom Morello’s strange guitar vocabulary even more tightly.

Test for Echo brings Rush’s three-piece feel to the front, building songs from hard guitar, defined bass and precise drumming.

Satyricon's third album, issued by Moonfog Productions on 22 April 1996. The title is Latin for divine nemesis.

Pure Instinct places Scorpions’ melodic strength inside a more restrained, adult atmosphere.

Down moves Sentenced beyond the aggression of its early melodic death metal toward a gothic world of heavy guitar and dark melody.

Sepultura's sixth album, released in 1996. It carries recordings made in a Xavante village in Brazil, and it is the last with Max Cavalera.

A mid-1990s album from the period when SINNER toured with Mr. Big and Savatage. Japan had its own edition through Zero Corporation.

Undisputed Attitude releases Slayer’s love of punk and hardcore at relentless speed.

Sleep's third album: one piece of about an hour, split into six parts, held back for years by a dispute with the band's label.

Soundgarden's fifth album, out on 21 May 1996: sixteen songs the band produced themselves, and a number two on the Billboard 200.

The fourth album: a concept record in two halves, instrumental first and sung second, across eighteen tracks.

Episode brings Stratovarius’s fast twin leads, grand keyboards and steady rhythm section into one broad flow.

The Hellacopters' debut, released in June 1996. It was recorded live in twenty-six hours and won the hard rock category of the Swedish Grammis.

Fishing for Luckies pushes The Wildhearts’ punk roughness, power-pop sweetness and long twisted structures into the same space.

Tool's second album, released on vinyl on 17 September and on CD on 1 October 1996: the first with Justin Chancellor, and a No. 2 debut.

Belly to Belly moves Warrant away from 1980s gloss toward lower guitar, muted tone and heavier rhythm.

X Japan's fifth album, out on 4 November 1996. It is the last before the band broke up, and the last to carry new work by hide.

Inspiration revisits songs that shaped Yngwie Malmsteen and shows him playing not only for virtuoso display, but for melody and vocal expression.

Ballbreaker builds on the restored steadiness of Phil Rudd’s drumming, giving Angus and Malcolm Young’s riffs a dry, heavy frame.

Stomp 442 keeps Anthrax’s thrash energy but shifts the emphasis toward lower-slung riffs and heavier groove.

At the Gates' fourth album, released on 14 November 1995: the last before their 1996 split, and a model for Gothenburg metal and for metalcore.

Matters of Survival presents Axxis’ big choruses and sharp guitar work in a more polished frame.

Revolution uses clear keyboards, layered choruses and smooth guitar to deliver Bad Habit’s Nordic melodic-rock strengths with directness.

Forbidden centers on Tony Iommi’s heavy riffs while bringing together the melodic side of the Tony Martin era and a harder mid-1990s edge.

Blind Guardian's fifth album, released in April 1995 and produced by Flemming Rasmussen: the last on which Hansi Kürsch also played bass.

These Days keeps Bon Jovi’s arena-scale reach while stepping into more reflective, grounded writing.

Cathedral's third album, released in September 1995: the first with Leo Smee and Brian Dixon, with Tony Iommi playing guitar on "Utopian Blaster".

Dawn introduces Paul Laine and moves Danger Danger toward darker guitar color and a more reflective mood.

The Gallery precisely joins Dark Tranquillity’s raw death-metal texture to guitars rich in melancholy and melodic contour.

Death's sixth album, issued by Roadrunner on 21 March 1995. It keeps the technique and steps a long way towards melody, and it is where the band arrives.

Dissection's second album, issued by Nuclear Blast on 17 November 1995. It is one of the earliest successful joins of black metal with the melody of Gothenburg.

Dysfunctional reunites Don Dokken, George Lynch, Jeff Pilson and Mick Brown, bringing Dokken’s tense melodic metal back with a more contemporary weight.

Down's debut, issued by EastWest in 1995. The title abbreviates New Orleans, Louisiana, and the record keeps the damp of the American South inside it.

Waiting for the Punchline moves Extreme away from its brighter funk-metal identity and toward thick riffs, rougher textures and a more tense atmosphere.

Rainmaker deepens Fair Warning’s clear melodies and lyricism through more settled, patient performances.

Fear Factory's second album, issued by Roadrunner in 1995. It is built on machine-like repetition and on a voice that moves between roaring and clean singing.

3 refines FireHouse’s sturdy hard-rock feel around C.J. Snare’s high-reaching vocal and blues-based guitar work.

Dead Man’s Shoes places FM’s smooth harmonies and Steve Overland’s warm vocal at the center of restrained, blues-tinged hard rock.

Land of the Free puts Kai Hansen’s own lead vocal at the front and restores Gamma Ray’s sense of speed-metal uplift with real force.

Voice of Reason expands Harem Scarem’s beautiful choruses and detailed playing into darker, more complex territory.

The X Factor opens a new Iron Maiden chapter with Blaze Bayley, pursuing darker air, heavier weight and longer song structures than before.

Love Parade is a useful way to hear JEFF SCOTT SOTO from a different angle within the 1995 catalogue.

The sixth album, self-titled: a looser, blues-leaning record produced by Glyn Johns.

Out of My Tree captures John Sykes’ cutting guitar and soulful vocal with a near-live sense of band chemistry.

Eternity finds Kamelot’s debut-era sound in the meeting point of heavy guitar and neoclassical melody.

Kreator's seventh studio album, from 1995, their first for GUN Records and the only one with a different drummer.

Love Is an Illusion centers Lana Lane’s clear vocal within thick keyboard layers and progressive song development.

The eight soundtrack and tribute tracks Megadeth never put on a studio album, gathered onto one 1995 Capitol EP.

Meshuggah's second album, issued by Nuclear Blast in 1995. Its odd metres and stuttering riffs opened the way to mathcore and djent.

Moonspell's debut, issued by Century Media in 1995. It brings the Portuguese language and the myths of its own country into gothic metal.

Sacrifice, released on 27 March 1995, began the band's long association with SPV / Steamhammer of Germany and is the last album to feature Würzel, who had played guitar since 1984.

Nevermore's debut, from February 1995. It is the first record of the band Warrel Dane and Jim Sheppard started after Sanctuary broke up, and two different drummers play half of it each.

Feeding off the Mojo retains Night Ranger’s large choruses and guitar-led momentum while moving toward a drier, more mid-1990s sound.

In a Time of Blood and Fire is Nocturnal Rites’ debut, joining sharp riffs, speed and a distinctly Scandinavian melancholy.

Opeth's debut, issued by Candlelight on 15 May 1995. The band never made a demo; a rehearsal tape alone got them the contract.

Outrage's sixth album, out on 25 May 1995. Megalomania, which opens it, is still played live today.

Ozzmosis pairs Zakk Wylde’s thick guitar work with Ozzy Osbourne’s unmistakably uneasy, vulnerable voice.

Paradise Lost's fifth album, issued by Music for Nations in 1995. It binds the shade of gothic rock to the weight of heavy metal in one thing.

Change introduces David Readman and gives Pink Cream 69 a heavier guitar frame with more mid-1990s shadow.

The fifth Praying Mantis studio album, released by Pony Canyon on 19 August 1995 as PCCY-00794. Eleven songs.

Queen's fifteenth album, from November 1995: the last studio album, completed over four years by the other three around vocals Freddie Mercury left.

Down to the Bone moves Quiet Riot a little away from its flashy 1980s image and toward bluesy riffs and rougher groove.

Black in Mind uses Rage’s heavy riffs and intelligent shifts to create a dark, unsettling world.

Stranger in Us All revives Rainbow through Ritchie Blackmore’s hard-edged riffs and folk-tinged melodic instincts.

Rammstein's debut album, released in September 1995 on Motor Music by the six players who have been the band ever since.

A live album recorded in Japan. Gallagher has since said he had laryngitis when it was taped.

The Brethren of the Long House shapes Riot’s strong riffs and rising melodies into narrative-minded power metal.

Moving Target places D.C. Cooper’s soaring, dramatic vocal at the center of Royal Hunt’s keyboard-led architecture.

Savatage's ninth album, released in September 1995: a rock opera set in wartime Sarajevo, whose "Christmas Eve (Sarajevo 12/24)" caught on with American radio.

Saxon's twelfth album, from September 1995 and the last to feature Graham Oliver. It falls in a period of change in both the sound and the line-up.

Amok retains Sentenced’s death-metal aggression while drawing strongly on cold melody and gothic shadow.

A mid-1990s record for No Bull Records; Zero Corporation issued the Japanese edition.

Subhuman Race strips away much of Skid Row’s earlier glam-metal shine in favor of thick riffs, low-slung groove and vocal frustration.

Fear No Evil keeps Slaughter’s high-reaching vocal and catchy choruses while adding heavier guitar weight and more shadow to the songs.

An EP written and recorded in under six weeks, stripped back to guitar, bass and drums.

Fourth Dimension introduces Timo Kotipelto and gives Stratovarius’ fast rhythms, flowing keyboards and high-reaching vocal a clear new shape.

Suffocation's third album, issued by Roadrunner in 1995. It recovers from a badly received predecessor and became the yardstick for its style.

The Damnation Game gains the powerful vocal of Russell Allen and brings Symphony X’s neoclassical guitar, heavy riffs and progressive construction into sharper focus.

Life unifies Talisman’s thick bass, elastic rhythm and Jeff Scott Soto’s powerful vocal into a single force.

P.H.U.Q. throws together noisy guitars, punk speed and unexpectedly sweet melody with typical Wildhearts force.

Tambu keeps Toto’s precise ensemble work but shifts its center of gravity toward lower, heavier rhythms and muted color.

UFO's fourteenth album, out first in Japan on 15 April 1995, reunited Phil Mogg and Pete Way with Michael Schenker, Paul Raymond and Andy Parker.

Vader's second album, issued by Croon Records in 1995. It was taped at Modern Sound Studio in Gdynia and stands for Polish death metal.

Balance keeps Van Halen’s sense of lift while moving into a heavier, more reflective atmosphere.

Voivod's eighth studio album, from November 1995, the first after Snake left for a time, sung by bassist Eric Forrest.

Still Not Black Enough frames Blackie Lawless’ anger and isolation through the large riffs and theatrical vocal character associated with W.A.S.P.

Ultraphobic keeps Warrant’s melodic strength but turns toward rougher, heavier guitar tones.

Musically Incorrect strips Y&T back to straight-ahead hard rock centered on Dave Meniketti’s voice and guitar.

Magnum Opus gathers Yngwie Malmsteen’s baroque-minded melodies, fast rhythms and spark-throwing guitar into a large-scale design.

Death Row finds ACCEPT in a phase that takes Accept into a heavier, darker direction through down-tuned guitars and a colder overall atmosphere.

Tales from the Thousand Lakes, a turning point for AMORPHIS, sets the world of the Kalevala to death-metal weight and Finnish folk-like melody.

King of the Kill finds ANNIHILATOR in a phase that keeps Jeff Waters's thrash sharpness while leaning Annihilator toward heavier riffs and more direct songcraft.

Aria finds ASIA in a phase that rebuilds Asia's dramatic scale around John Payne's voice and Geoff Downes's keyboards in a clearly 1990s sound frame.

At the Gates' third album, from 1994, the first with Martin Larsson: six tighter new songs and three live tracks, pointing to Slaughter of the Soul.

Diesel and Power captures BACKYARD BABIES at a point where the later image is not yet fully fixed.

Cross Purposes finds BLACK SABBATH in a phase that lets the Tony Martin-era lineup balance Sabbath's ominous weight with unusually clear melodic definition.

Walk On is a useful way to hear BOSTON from a different angle within the 1994 catalogue.

Burzum's third album, taped at the Grieg Hall in Bergen in September 1992 and released in April 1994. It holds four pieces.

Still Climbing finds CINDERELLA in a phase that reconnects Cinderella's earthy blues-rock feel to hard-rock force and puts tactile playing ahead of glamour.

Cradle of Filth's debut album, from February 1994, and a then-unusual welding of gothic metal to black metal.

Darkthrone's fourth album, issued by Peaceville on 17 February 1994. It was made on a four-track recorder set up in Fenriz's bedroom.

David Lee Roth's fourth full-length album, released by Reprise on 8 March 1994 and produced by Nile Rodgers, ranges from country to reggae.

Dizzy Mizz Lizzy captures DIZZY MIZZ LIZZY at a point where the later image is not yet fully fixed.

Awake, DREAM THEATER's third album, turns inward from the openness of its predecessor with heavier guitars, dense keyboards and tense song construction.

Emperor's debut, issued by Candlelight in 1994. Its orchestral keyboards made it the template for symphonic black metal.

Inside Out, FATES WARNING's seventh album, is mature progressive metal that lets complex meters and tight ensemble work flow quietly inside the songs.

Mr. Moonlight finds FOREIGNER in a phase that reunites Foreigner around Lou Gramm's powerful voice and Mick Jones's guitar, once again drawing large melodic shapes.

Dial Hard finds GOTTHARD in a phase that puts Steve Lee's open-throated vocal and Leo Leoni's direct guitar work at the center of Gotthard's European hard-rock identity.

Great White's seventh studio album, released by Zoo Entertainment in May 1994, came with the bonus live disc Anaheim Live in the US.

Master of the Rings, HELLOWEEN's sixth album, brings in Andi Deris and Uli Kusch and returns the band to the drive of straight-ahead power metal.

Lunar Strain, the IN FLAMES debut, lays Nordic folk-like melody and acoustic shading over the sharp aggression of death metal.

Korn finds KORN in a phase that uses down-tuned guitars, elastic bass and exposed emotional fracture to lay a foundation for what would become nu metal.

Kyuss's third album, issued by Elektra in 1994. It is the first with bassist Scott Reeder and the last with founding member Brant Bjork.

The fourth L.A. Guns studio album, released by Polydor / Mercury in 1994 with fifteen songs. Mercury issued the Japanese edition on 5 October 1994 as PHCR-1254. It is the band's last album of the PolyGram years.

Pride in Tact finds LIONSHEART in a phase that centers on Steve Grimmett's powerful voice and gives Lionsheart a dramatic, traditional British melodic-metal frame.

Heavy Metal Hippies is the eleventh Loudness album, released in Japan on 21 December 1994. After Taiji Sawada and Munetaka Higuchi left, Hirotsugu Homma came in on drums and Akira Takasaki played the bass parts himself. Chris Tsangarides recorded and mixed it.

Luna Sea's fourth album, out on 26 October 1994. It reached number two on the Oricon chart and was certified platinum, and it settled the band's standing.

Burn My Eyes finds MACHINE HEAD in a phase that channels street-level anger, low-cut riffing and hard groove into a debut that announced a new kind of 1990s metal weight.

Introduction is a MARTY FRIEDMAN instrumental album that weighs exotic melody, the afterglow of tone and the use of space as much as speed.

Mayhem's debut, released in 1994. The writing began in 1987, and the record reached the public seven years later, after the suicide of its singer and the murder of its guitarist.

Youthanasia finds MEGADETH in a phase that keeps Megadeth's thrash-born tension while shifting weight toward thick mid-tempo motion and denser melody.

Mötley Crüe finds MÖTLEY CRÜE in a phase that moves Mötley Crüe away from earlier gloss and toward heavier riffs, hard grooves and a newly configured vocal presence.

Nine Inch Nails' second album, out on 8 March 1994. It follows one man's disintegration from end to end, and it was made in a house in Los Angeles turned into a studio.

Overkill's seventh album, released in July 1994: self-produced, a return to fast thrash after the weight of its predecessor, and their last for Atlantic.

Far Beyond Driven, PANTERA's seventh album, pushes the weight and edge of its groove metal to the limit, turning aggression into physical force.

A sixth album issued first in Japan on Epic/Sony; the European Massacre pressing followed in 1995.

Promised Land finds QUEENSRŸCHE in a phase that deliberately steps away from the broad success of Empire and explores a darker, more inward sound.

10 Years in Rage is a useful way to hear RAGE from a different angle within the 1994 catalogue.

A 1994 album, twelve tracks cut at Showplace Studios in Dover, New Jersey.

Clown in the Mirror finds ROYAL HUNT in a phase that sharpens Royal Hunt's neoclassical speed and dramatic melody around André Andersen's keyboards.

Satyricon's debut, recorded in August and September 1993 and issued by Moonfog Productions. It brings medieval subject matter and folk instruments into black metal.

Savatage's eighth album, released in August 1994, less than a year after Criss Oliva's death, with Alex Skolnick of Testament on lead guitar.

Welcome to the Madhouse finds SHY in a phase that brings Shy's established melodic-hard-rock instincts into a tougher sound with more distinctly 1990s shade.

Divine Intervention is SLAYER's sixth album and first studio record with Paul Bostaph on drums, keeping the urgency of merciless thrash intact.

Soundgarden's fourth album, released in 1994. It entered the Billboard 200 at number one, and "Black Hole Sun" and "Spoonman" both won Grammy Awards.

Dreamspace is the third STRATOVARIUS album, with Timo Tolkki on vocals as well as guitar, joining neoclassical playing to an introspective, uneasy mood.

Symphony X, the self-titled debut by SYMPHONY X, crosses classical construction and neoclassical guitar with technical playing.

Humanimal finds TALISMAN in a phase that pushes Talisman's hard-rock frame into funk, soul and blues color, turning the band's considerable ability into tangible groove.

Bust a Nut finds TESLA in a phase that keeps Tesla rooted in tactile American hard rock while moving toward a heavier, tighter sound.

Low finds TESTAMENT in a phase that keeps Testament's thrash precision while moving into lower tuning and heavier groove.

The Cult finds THE CULT in a phase that places hard-rock riffing and a 1990s alternative sensibility inside Bob Rock's weighty production.

Tiamat's fourth album, issued by Century Media on 1 September 1994. It leaves death metal behind and turns hard towards psychedelia and progressive rock.

The Seventh Sign is YNGWIE MALMSTEEN's seventh album, pairing his neoclassical speed with the dramatic singing of Mike Vescera.

Objection Overruled is a reunion record on which ACCEPT, with Udo Dirkschneider back, reasserts its core of steel-edged riffs and sing-along choruses.

Get a Grip finds AEROSMITH in a phase that joins the band’s blues-rooted roughness to a huge pop scale through heavier riffs and sharply defined vocal hooks.

Angels Cry captures ANGRA at a point where the later image is not yet fully fixed.

Set the World on Fire finds ANNIHILATOR in a phase that keeps Annihilator’s thrash urgency while moving toward larger melody and more clearly organized song form.

Sound of White Noise finds ANTHRAX in a phase that marks a transition for Anthrax, bringing heavier groove and darker vocal character into a thrash-built frame.

At the Gates' second album, from 1993: made at Sunlight Studios with Tomas Skogsberg, the last with founding guitarist and songwriter Alf Svensson.

The Big Thrill finds AXXIS in a phase that polishes the uplifting drive of German melodic hard rock by combining open melodies with hard-edged guitar work.

Carcass's fourth album, issued by Earache in 1993. It was recorded at Parr Street Studios in Liverpool, and it is the reference point for melodic death metal.

Cathedral's second album, released in May 1993: the crawl of the debut gives way to Seventies hard-rock swing, and Columbia issued it in America.

Cynic's debut, issued by Roadrunner on 14 September 1993. It brings fusion playing and a vocoder into death metal.

Skydancer finds DARK TRANQUILLITY in a phase that broadens early melodic death metal by setting layered melody and a dreamlike atmosphere against raw death-metal drive.

Darkthrone's third album, issued by Peaceville on 15 February 1993. It was written with the stated intent of making a pure black metal record.

Death's fifth album, out on 22 June 1993. Gene Hoglan and Andy LaRocque play on it, and it pushes the technical bent of the previous record further still.

The Battle Rages On... finds DEEP PURPLE in a phase that puts Deep Purple’s heavy hard-rock riffing and tense ensemble work back in sharp focus.

Dio's sixth studio album, released in Europe in October 1993 after Ronnie James Dio's Black Sabbath reunion on Dehumanizer, with Tracy G on guitar.

Dissection's debut, issued by No Fashion Records on 3 December 1993. It is the record on which melodic black metal was founded.

Entombed's third album, issued by Earache in 1993. It puts the drive of hard rock into death metal and creates what came to be called death 'n' roll.

Insanity and Genius finds GAMMA RAY in a phase that frames Gamma Ray’s fast German-metal drive and singable melody with a firmer riff attack.

The Spaghetti Incident? finds GUNS N' ROSES in a phase that reconnects Guns N’ Roses with the raw impulses of punk, glam and garage rock through a wide-ranging cover set.

Mood Swings finds HAREM SCAREM in a phase that joins sophisticated arrangement, shadowed harmony and powerful singing to present a mature statement of melodic hard rock.

Desire Walks On finds HEART in a phase that moves Heart into a harder early-1990s rock frame by combining tactile guitar weight with dramatic vocal presence.

Chameleon, HELLOWEEN's fifth album, steps far beyond the band's familiar speed-metal frame to try keyboards, acoustic color and pop melody.

The fifth album is a double: new and unreleased studio tracks on disc one, 1988 and 1992 live recordings on disc two.

Nothin' but Trouble is a useful way to hear JOHN SYKES from a different angle within the 1993 catalogue.

On Psychoschizophrenia, LILLIAN AXE keeps its melodic hard-rock instinct but steps into heavy guitars, darker textures and more complex emotion.

Hanging in the Balance, METAL CHURCH's fifth album, keeps the weight of traditional metal and builds drama on Mike Howe's powerful vocals.

Bastards was released on 11 October 1993 by ZYX of Germany. Twelve tracks, and the first album on which Mikkey Dee plays drums throughout.

Bump Ahead finds MR. BIG in a phase that places Mr. Big’s exceptional musicianship beneath a softer melodic instinct and varied early-1990s arrangement.

Outrage's fifth album, out on 25 September 1993, from the point at which they began taking in elements from well outside thrash metal.

Overkill's sixth album, released in March 1993: their first for Atlantic alone, and the first with drummer Tim Mallare.

Paradise Lost's fourth album, released in September 1993: the record that made their name in gothic metal, and the last with Matthew Archer on drums.

Games People Play finds PINK CREAM 69 in a phase that combines Pink Cream 69’s large melodic-hard-rock hooks with heavier guitar and more shadowed songwriting.

Native Tongue finds POISON in a phase that adds blues, funk and soul texture to Poison’s familiar glossy hooks, showing a broader musical side.

The fourth Praying Mantis studio album, released by Pony Canyon on 21 May 1993 as PCCY-00422, with Mark Thompson-Smith singing and former Iron Maiden guitarist Dennis Stratton in the band. Eleven songs.

A fifth album that rebuilds the band's own songs, revisiting "Please Don't Leave Me" and "Savage Heart" in another form.

Terrified finds QUIET RIOT in a phase that keeps Quiet Riot’s direct hard-rock momentum while leaning toward harder 1990s guitar tone and darker melody.

The Missing Link finds RAGE in a phase that layers heavy riffing, dramatic movement and introspective color onto Rage’s speed-metal sharpness.

Nightbreaker finds RIOT in a phase that introduces a new vocal presence while carrying Riot’s sharp traditional-metal riffs and large melodies into a harder modern frame.

Counterparts finds RUSH in a phase that keeps Rush’s advanced musicianship while shifting emphasis toward drier guitar, thicker rhythm and more direct song delivery.

Savatage's seventh album, released in April 1993: the first with singer Zak Stevens, and the last album Criss Oliva lived to complete.

Face the Heat finds SCORPIONS in a phase that keeps Scorpions’ large melodic sense while taking in harder riffs and the social tension of the early 1990s.

North from Here is a useful way to hear SENTENCED from a different angle within the 1993 catalogue.

Sepultura's fifth album, released in 1993. It was made with Andy Wallace at Rockfield Studios in South Wales, and it is the record on which they step into groove metal.

Issued by GSE Records, and released in Japan by Zero Corporation the following year.

The third album, issued under the band name Vai and the first major record to feature Devin Townsend's singing.

Genesis finds TALISMAN in a phase that naturally joins Talisman’s technical rhythmic feel, bluesy guitar and expansive singing into a polished hard-rock statement.

Earth vs The Wildhearts captures THE WILDHEARTS at a point where the later image is not yet fully fixed.

Tool's first full-length album, released on 6 April 1993 and made with Sylvia Massy, the only one with original bassist Paul D'Amour.

Type O Negative's third album, issued by Roadrunner in 1993. It was the first record on that label to be certified gold by the RIAA.

Voivod's seventh studio album, from 1993, with the seventeen-minute "Jack Luminous" and a Pink Floyd cover.

Pull finds WINGER in a phase that keeps Winger’s melodic-hard-rock skill and song sense while moving into heavier guitar, intricate rhythm and a more inward atmosphere.

X Japan's fourth album, out on 25 August 1993. It holds nothing but the 29-minute title piece, recorded with the Royal Philharmonic Orchestra.

Alice in Chains' second album, out on 29 September 1992. Dave Jerden produced it as he had the debut, and it is the last record made by the four original members.

The Karelian Isthmus is Amorphis’s debut of sinking heavy riffs, low growls and desolate atmosphere.

Domestic Booty is Anthem's seventh studio album, released on 16 March 1992. It is the first record with Akio Shimizu on guitar and the last studio album before the band broke up that July.

Aqua by ASIA: track list, Spotify player and English liner notes on METAL BOOST.

At the Gates' debut album, released on Peaceville's Deaf Records imprint in 1992: dense, riff-packed and laced with violin.

Dehumanizer reunites Ronnie James Dio, Tony Iommi, Geezer Butler and Vinny Appice for a return to Black Sabbath’s heavy, uneasy sound.

Blind Guardian's fourth album, released in June 1992 as their first for Virgin; its sleeve of time-travelling bards gave the band its nickname, the Bards.

Bolt Thrower's fourth album, issued by Earache in 1992. It was cut at Sawmill Studios that August and slows the band down sharply from the record before it.

Keep the Faith tightens Bon Jovi’s celebratory 1980s image and moves toward heavier guitar and more mature songs under Bob Rock’s production.

Cannibal Corpse's third album, issued by Metal Blade on 22 September 1992. It is the last record made by the original line-up.

Adrenalize gathers Def Leppard’s layered chorus work, hard guitar and immediate melody into a record completed after the loss of Steve Clark.

Images and Words joins complex rhythm, precise ensemble work and broad, singable melody at a very high level.

Force of Habit by EXODUS: track list, Spotify player and English liner notes on METAL BOOST.

III Sides to Every Story divides Extreme’s mix of funk-driven rhythm, hard-rock sharpness and orchestral scale into three connected sections.

Fair Warning’s debut balances strength and delicacy through Tommy Heart’s emotionally rich vocal and Helge Engelke’s polished guitar.

Faith No More's fourth album, out on 8 June 1992. It is the first on which Mike Patton had a real hand in the writing, and the last with guitarist Jim Martin.

Fear Factory's debut, issued by Roadrunner in August 1992 and produced by Colin Richardson. Seventeen songs.

Hold Your Fire by FIREHOUSE: track list, Spotify player and English liner notes on METAL BOOST.

Aphrodisiac centers on Steve Overland’s smooth, powerful vocal and gathers FM’s refined AOR and melodic-hard-rock feel.

Time to Burn pairs Dann Huff’s expressive guitar and vocal with the firm playing of the rest of Giant, balancing weight and polish.

Gotthard’s self-titled debut centers on Steve Lee’s open, powerful vocal and Leo Leoni’s thick guitar, delivering blues-tinted hard rock with immediate confidence.

Great White's sixth studio album, produced by Alan Niven and Michael Lardie and released by Capitol in 1992, reached 107 on the Billboard 200.

Double Eclipse is Hardline’s debut built around Johnny Gioeli’s forceful, open vocal and Neal Schon’s fluent guitar.

Helmet's second album and major-label debut, issued by Interscope on 23 June 1992. Wharton Tiers recorded it in two weeks.

Fear of the Dark keeps Iron Maiden’s sense of charge while moving into darker, harder riffing and more sustained tension.

The fourth album, his biggest: number 22 in the United States, certified Gold, and home to Summer Song.

Revenge keeps KISS’s large choruses but places thick guitar and rougher rhythm at the front.

Kreator's sixth studio album, from October 1992 and the first on which they brought industrial music into their writing.

Poetic Justice connects thick guitar riffing with a more melancholy melodic sense.

Lionsheart’s debut puts Steve Grimmett’s powerful high vocal at the front of thick riffs and dramatic melody.

Loudness, released on 10 June 1992, is the only studio album by the band's third line-up: Masaki Yamada of Ezo on vocals and Taiji Sawada of X on bass. Akira Takasaki produced it himself and took the tuning down a semitone. It entered the Oricon chart at No. 2.

Scenes steps away from Marty Friedman’s more aggressive guitar metal and moves toward clean tone, quiet arrangement and melodies that suggest Eastern color.

Countdown to Extinction streamlines some of the intricate thrash complexity of Rust in Peace and brings thick riffs, clear choruses and heavy groove to the front.

Ministry's fifth album, issued by Sire in 1992. Al Jourgensen and Paul Barker produced it, and it was recorded between March 1991 and May 1992.

Released by Epic in July 1992, March ör Die carries Ozzy Osbourne and Slash on "I Ain't No Nice Guy". Epic issued the Japanese pressing on 22 August as ESCA 5641.

Vulgar Display of Power turns low, rolling groove into weight rather than depending only on speed.

Paradise Lost's third album and their first for Music for Nations, released on 14 July 1992; it closes with "As I Die", later issued as a single.

A fourth album made after the band nearly folded, with Flemming Rasmussen producing again and a John Sykes song covered.

Trapped! brings sharp guitar riffing, mobile rhythm and Peavy Wagner’s distinctive vocal together at high density.

Rage Against the Machine's self-titled debut made a striking entrance in 1992, binding rap, funk groove and metal riffs with political urgency.

Land of Broken Hearts is Royal Hunt’s debut, built around André Andersen’s thick keyboard work, heavy guitar, dramatic chorus and Henrik Brockmann’s powerful vocal.

Saxon's eleventh album, released in 1992. It is the last full album with the founding guitarist Graham Oliver.

The band's return after the Noise years, on Mausoleum. Andy Susemihl played guitar on several tracks, and Victor issued the album in Japan.

The Wild Life keeps Slaughter’s clear chorus hooks and bright hard-rock lift while moving into a more varied set of songs than its predecessor.

Sleep's second album, issued by Earache in Europe in November 1992 and in the United States in March 1993. It is named again and again as a starting point for stoner rock.

Twilight Time is an important early Stratovarius album, combining fast-moving riffs, flowing keyboard and Timo Tolkki’s guitar and vocal.

The Ritual tightens Testament’s earlier thrash attack and puts thick riffs and heavy groove at the front.

Realized Fantasies combines vivid guitar phrases, clear keyboard color and Tony Harnell’s high vocal range.

Tool's debut EP, released on 10 March 1992: four studio songs and two live tracks, picked for their heaviness at the label's urging.

Kingdom of Desire retains Toto’s polish while bringing guitar weight and a more immediate band feel to the front.

Treat’s self-titled album introduces Mats Levén at the front and adds a harder texture to the band’s established melodic-hard-rock brightness.

Hear! is Trixter’s second album of accessible melody, broad chorus and light-footed guitar.

UFO's thirteenth studio album, released in February 1992, was the only one with Laurence Archer and Clive Edwards and brought Pete Way back.

The Crimson Idol is Blackie Lawless’s concept story of fictional rock star Jonathan Steel.

Dog Eat Dog keeps Warrant’s melodic identity while putting thicker riffs and tougher groove further forward.

White Zombie's third album, issued by Geffen in 1992. It leaves the band's punk and noise-rock roots for groove-driven metal, and it is their first record to sell in America.

Fire & Ice gathers Yngwie Malmsteen’s rapid lines, baroque-flavored melody and heavy riffs on a broad scale.

Attack of the Killer B's gathers ANTHRAX B-sides, covers and experiments, including a collaboration with Public Enemy that fused metal and rap.

Carcass's third album, issued by Earache in 1991. It is the first with guitarist Michael Amott and the first the band recorded as a four-piece.

Cathedral's debut, released in October 1991: doom played at a crawl on all but one track, and Lee Dorrian's favourite of all the records he has made.

Screw It! uses Ted Poley’s clear vocal, Andy Timmons’s vivid guitar and thick chorus layers to create bright, flamboyant hard rock.

David Lee Roth's third full-length album, produced by Bob Rock and released on 15 January 1991, with Jason Becker on lead guitar.

Death's fourth album, out on 22 October 1991. Two members of Cynic and bassist Steve Di Giorgio play on it, and it became the reference point for technical death metal.

Prisoners in Paradise keeps Europe’s large arena-rock outline while adding a calmer melancholy and greater polish.

Parallels keeps Fates Warning’s complex rhythm and extended development while giving the songs a clearer outline around Ray Alder’s vocal.

Takin’ It to the Streets centers on Steve Overland’s smooth vocal and adds soft soul and pop color to FM’s melodic-hard-rock frame.

Unusual Heat introduces a new front voice and places Mick Jones’s guitar at the center of a harder, more early-1990s sound.

Sigh No More carries forward Gamma Ray’s early lift while adding darker riffing and a stronger sense of tension.

Great White's fifth studio album, released by Capitol in February 1991, reached number 18 in the US and was certified gold by the RIAA that April.

Use Your Illusion I keeps the dangerous charge of Guns N’ Roses’ earlier work while greatly expanding song length, arrangement and emotional range.

Paired with the same-day first volume, Use Your Illusion II shows a darker shade and a broader swing of feeling.

Harem Scarem’s self-titled debut joins Harry Hess’s smooth, powerful vocal to Pete Lesperance’s expressive guitar, balancing hard-rock drive with AOR refinement.

Pink Bubbles Go Ape finds Helloween moving into a lighter, more colorful song style after Kai Hansen’s departure, while retaining speed and lift.

The third L.A. Guns studio album, released by Vertigo on 25 June 1991 with twelve songs. The Japanese edition at the time was PHCR-1085, and Universal Music Japan reissued it on SHM-CD on 25 March 2026.

On the Prowl, released on 25 February 1991, marked the band's tenth anniversary. It pairs English-language self-covers of early Loudness songs with new material, and was the second and last album with Mike Vescera.

The Human Factor brings Metal Church’s sharp guitar attack, heavy-moving rhythm and Mike Howe’s forceful voice into a focused whole.

Metallica, widely known as The Black Album, streamlines some of the band’s more complex thrash construction and brings low, heavy riffs and larger melody to the front.

Morbid Angel's second album, issued by Earache on 22 May 1991. It is slower than the debut and carries an audible debt to classical music.

1916, released by Epic in January 1991 and a UK No. 24, holds "R.A.M.O.N.E.S.", the band's tribute to the Ramones, and a title track about the dead of the First World War.

Lean Into It places Paul Gilbert and Billy Sheehan’s virtuosity inside songs led by Eric Martin’s melodic vocal.

Nirvana's second album, released by DGC on 24 September 1991. It is the first record with drummer Dave Grohl, and Butch Vig produced it.

Outrage's fourth album, out on 25 October 1991. It was their first recorded abroad, produced by Stefan Kaufmann, formerly of Accept.

Overkill's fifth album, released in September 1991: the first as a five-piece with two guitarists, bringing elements of doom into their thrash.

No More Tears connects large heavy riffs and melancholy melody with unusual consistency.

Paradise Lost's second album, released by Peaceville on 19 March 1991: the record their own biography credits with making them pioneers of gothic metal.

Pearl Jam's debut, released by Epic on 27 August 1991. It was recorded at London Bridge Studios in Seattle with Rick Parashar.

One Size Fits All tightens Pink Cream 69’s blend of thick riffs, Andi Deris’s clear vocal and memorable chorus hooks.

The band's second album, ten years after the first, and in practice their restart. Pony Canyon released it on 21 March 1991 as PCCY-00207, with Gary Barden of MSG singing and Dennis Stratton, formerly of Iron Maiden, on guitar. Eleven songs.

Queen's fourteenth album, released in February 1991 (in Japan on 30 January): the last released in Freddie Mercury's lifetime, and a UK No. 1.

Made in Germany after the band took up with Kreator's management. Gallagher calls it darker and heavier than the low-budget record before it.

Roll the Bones steps slightly away from Rush’s synth-centered 1980s design and brings Alex Lifeson’s guitar and the trio’s interplay back into sharper view.

Savatage's sixth album, a rock opera issued by Atlantic in October 1991: the rise, fall and redemption of a New York drug dealer who becomes a rock star.

Saxon's tenth album, released in 1991. It is the first with Nibbs Carter on bass, a place he has held ever since.

Shadows of the Past is an early Sentenced death-metal record of sinking riffs, rough growls and dark air.

Sepultura's fourth album, released in 1991. It was made at Morrisound in Tampa with Scott Burns, and it has been called the point at which their death-thrash reached its conclusion.

Slave to the Grind keeps Skid Row’s ability to write large hooks but pushes guitar weight, Sebastian Bach’s scream and rough rhythm much further forward.

Soundgarden's third album, released in 1991. It is the first with bassist Ben Shepherd, built on alternative tunings and odd metres, and it was the band's first record to chart high in the United States.

Suffocation's debut, released in 1991. It was cut over a week at Morrisound in Tampa that June and became the template for brutal death metal.

Psychotic Supper avoids excessive overdubbing and brings guitar texture, Jeff Keith’s rough vocal and the band’s shared breathing to the front.

Ceremony builds a longer, more shadowed song world around Billy Duffy’s thick guitar and Ian Astbury’s deep vocal.

Timebomb centers on Udo Dirkschneider’s rough roar and sharply chugging guitar in a hard-edged metal setting.

For Unlawful Carnal Knowledge reduces the keyboard emphasis and puts Eddie Van Halen’s thick guitar riffs and the band’s live-feeling drive at the front.

Voivod's sixth studio album, from 1991, produced by Terry Brown of Rush fame and turned towards alternative rock.

Mane Attraction keeps White Lion’s melodic strengths while moving toward longer forms and thicker guitar weight.

Hungry combines streetwise guitar riffing, Terry Ilous’s strong vocal and direct chorus hooks.

The Razors Edge is a useful way to hear AC/DC from a different angle within the 1990 catalogue.

Alice in Chains' debut, released by Columbia in 1990. It was the first grunge album certified gold by the RIAA, reached number 42 on the Billboard 200 and has since gone triple platinum.

Never, Neverland finds ANNIHILATOR in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

No Smoke Without Fire is Anthem's sixth studio album, released on 21 March 1990. It was their first record made abroad, cut in London with Tony Taverner, and it carries a guest appearance by Don Airey of Rainbow.

Persistence of Time finds ANTHRAX in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Atheist's debut, taped in 1988 and held back for years by a label bankruptcy before its international release in 1990. It is one of the earliest death metal records built on jazz-fusion phrasing.

Axxis II is a useful way to hear AXXIS from a different angle within the 1990 catalogue.

Tyr is a useful way to hear BLACK SABBATH from a different angle within the 1990 catalogue.

Blind Guardian's third album, released in 1990. Kai Hansen guests on it, and it is the first record on which the band's layered choral vocals and sense of drama carry the whole album.

Heartbreak Station finds CINDERELLA in a phase that puts hard rock’s physical pull forward on a base of bluesy grit and thick riffs.

Death's third album, out on 16 February 1990. It drops the gore of the first two records for social subject matter and raises the level of playing a step, and it is the turn in the band's course.

Act III finds DEATH ANGEL in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Slaves and Masters is a useful way to hear DEEP PURPLE from a different angle within the 1990 catalogue.

Dio's fifth studio album, released in May 1990, had an all-new line-up around Ronnie James Dio, including guitarist Rowan Robertson, hired at 17.

Entombed's debut, recorded in under a week at Sunlight Studio in Stockholm in late 1989 and issued by Earache in the United Kingdom in 1990.

Impact Is Imminent finds EXODUS in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Pornograffitti finds EXTREME in a phase that crosses heavy riffs, bouncing rhythm and dense harmony to create a distinctive groove.

FireHouse captures FIREHOUSE at a point where the later image is not yet fully fixed.

Heading for Tomorrow finds GAMMA RAY in a phase that combines racing riffs, layered chorus and narrative melody to paint power metal on a large emotional scale.

Brigade is a useful way to hear HEART from a different angle within the 1990 catalogue.

No Prayer for the Dying finds IRON MAIDEN in a phase that reasserts the force of traditional metal through steel-edged riffs, forward beat and proud vocal delivery.

Painkiller finds JUDAS PRIEST in a phase that reasserts the force of traditional metal through steel-edged riffs, forward beat and proud vocal delivery.

Kreator's fifth studio album, from November 1990, recorded in Hollywood and closing their 1980s thrash period.

Rust in Peace finds MEGADETH in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Obituary's second album, out on 19 September 1990. It was cut at Morrisound Recording in Tampa with Scott Burns producing, and it is one of the records by which Florida death metal is measured.

Outrage's third album, out on 10 September 1990. It extends the two before it while opening out the arrangements to give the singing room.

Cowboys from Hell finds PANTERA in a phase that pursues pressure that reaches the body through heavy riffs and clinging rhythm rather than speed.

Paradise Lost's debut album, released by Peaceville Records on 5 February 1990: the slow, heavy doom-death sound the band started out from.

Flesh & Blood is a useful way to hear POISON from a different angle within the 1990 catalogue.

A third album produced by Deep Purple's Roger Glover, after which the band came close to breaking up.

Empire finds QUEENSRŸCHE in a phase that joins intricate movement and high-level musicianship to vocal melody and dramatic structure.

Reflections of a Shadow finds RAGE in a phase that combines racing riffs, layered chorus and narrative melody to paint power metal on a large emotional scale.

Detonator is a useful way to hear RATT from a different angle within the 1990 catalogue.

The Privilege of Power finds RIOT in a phase that reasserts the force of traditional metal through steel-edged riffs, forward beat and proud vocal delivery.

Crazy World finds SCORPIONS in a phase that joins large choruses, thick guitar and arena-scale drive to tighter song construction.

Stick It to Ya finds SLAUGHTER in a phase that uses hard-edged guitar and wide-open vocal melody to deepen a melodic-hard-rock outline.

Seasons in the Abyss is a useful way to hear SLAYER from a different angle within the 1990 catalogue.

The second album, the record that set the standard for instrumental rock: number 18 in the US and certified Gold.

The fifth album, released in 1990, closing out the run that began in the mid-80s.

Suicidal Tendencies' fifth album, released by Epic in 1990. It is the first with bassist Robert Trujillo and the last studio record with drummer R.J. Herrera, and it moves the band from crossover toward thrash metal proper.

Talisman captures TALISMAN at a point where the later image is not yet fully fixed.

Souls of Black finds TESTAMENT in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Trixter captures TRIXTER at a point where the later image is not yet fully fixed.

Faceless World is a useful way to hear U.D.O.

Rev It Up is a useful way to hear VIXEN from a different angle within the 1990 catalogue.

Cherry Pie is a useful way to hear WARRANT from a different angle within the 1990 catalogue.

In the Heart of the Young finds WINGER in a phase that uses hard-edged guitar and wide-open vocal melody to deepen a melodic-hard-rock outline.

Ten is a useful way to hear Y&T from a different angle within the 1990 catalogue.

Eclipse is the fifth album by YNGWIE J. MALMSTEEN'S RISING FORCE, joining the flair of neoclassical guitar to powerful singing on a dramatic scale.