2000s Metal & Hard Rock Albums

Unholy keeps Altaria rooted in traditional heavy metal while letting bright Scandinavian melodies ring out.

Show Your Colors is a turning point for Amoral, retaining heaviness while bringing clean vocals and strong melodies to the front.

Skyforger blends Amorphis’s heavy guitars with a distinctly northern sense of melancholy.

The Root of All Evil revisits familiar material through the voice, production weight and arrangement sense of its recording period.

Congregation of the Damned connects Atreyu’s shadowed atmosphere to rough, forceful metalcore.

Utopia adds bright keyboards and dramatic atmosphere to Axxis’s direct melodic-metal style.

Baroness's second album, issued by Relapse Records on 13 October 2009. It scored 87 on Metacritic, in the range the site calls universal acclaim.

The Circle pairs Bon Jovi’s arena-scale melodies with a more mature point of view.

Gather the Faithful is Cain’s Offering’s debut construction of dramatic power metal around grand keyboards and soaring vocals.

Chickenfoot’s debut channels the experience and distinct personalities of its members into unpretentious hard-rock energy.

Skeletons in the Closet gathers covers CHILDREN OF BODOM recorded over a long career, each translated into the band's own sound.

Church of Misery's fourth album, issued by Rise Above Records in 2009. Every title carries the name of a murderer with it.

Revolve packs Danger Danger’s strengths—quick riffs and huge choruses—into a focused melodic-rock record.

Autumnal fuses Dark Moor’s classical elegance with the lift of power metal in a romantic style.

Addicted unleashes Devin Townsend’s bright, high-energy side through loud guitars, stacked vocals and huge melodies.

Ki finds Devin Townsend deliberately holding back the usual explosions in favor of quiet tension and spacious sound.

Black Clouds & Silver Linings gathers Dream Theater’s intricate structures, virtuosic playing and dramatic vocal melodies on a grand scale.

Bring the Thunder is Dynazty’s youthful hard-rock debut, driven by immediate energy.

Design Your Universe layers orchestra, choir and metal riffs with great precision, creating an immense sonic space for Epica.

A rapid debut built from Swedish Idol 2009 performances and the winning single “Higher,” capturing Grönwall’s range, stage instinct and rock identity at the moment of his breakthrough.

Last Look at Eden shows Europe moving beyond simple 1980s nostalgia toward a tougher modern hard-rock sound.

Aura presents Fair Warning’s refined melodic-rock character with calm confidence.

War Is the Answer connects Five Finger Death Punch’s enormous riffs and heavy groove to choruses that land immediately.

Can't Slow Down is a useful way to hear FOREIGNER from a different angle within the 2009 catalogue.

Need to Believe pairs Gotthard’s weighty hard rock with a mature gift for emotional balladry.

Great White's eleventh album, out in Europe on 13 March 2009, introduced bassist Scott Snyder and was Jack Russell's last studio album with the band.

Beg for It combines Hardcore Superstar’s glam flash with rough hard-rock aggression in a volatile balance.

Leaving the End Open layers a polished AOR feel over Hardline’s firm hard-rock foundation.

An eighteen-song covers album working through the band’s hardcore and metal roots — Slayer, Metallica, Misfits, Black Flag and more.

The self-titled fifth album, fourteen songs, released by E1 Music in September 2009.

Heaven & Hell's only studio album, from April 2009. It is the last studio record Ronnie James Dio made before his death.

Beautiful Mess by JEFF SCOTT SOTO: track list, Spotify player and English liner notes on METAL BOOST.

Killswitch Engage balances the band’s metalcore weight and melodic strength with confident consistency.

Sonic Boom finds KISS returning to its fundamentals after a long gap between studio records.

Kreator's twelfth studio album, from January 2009 and the first since Pleasure to Kill recorded live in the studio.

Kylesa's fourth album, issued by Prosthetic Records on 17 March 2009. The band plays it with three singers and two drummers.

Lacuna Coil's fifth studio album, released in April 2009, was their first with producer Don Gilmore and reached number 16 on the Billboard 200.

Wrath uses Lamb of God’s massive riffs and biting rhythms to unleash overwhelming aggression.

Dreamcatcher delivers Last Autumn’s Dream’s Scandinavian melodic-rock melancholy with an intimate warmth.

Circus Colossus joins Leverage’s classic hard-rock instincts to a symphonic sense of scale.

Sad Day on Planet Earth keeps Lillian Axe rooted in melodic hard rock while reaching for a more shadowed emotional tone.

The Everlasting is the twenty-second Loudness album, released on 27 May 2009. It was completed using drum tracks Munetaka Higuchi had recorded before his death the previous year, with his successor Masayuki Suzuki playing on some songs.

Tokyo Jukebox opens MARTY FRIEDMAN's cover series, translating Japanese pop, anime and game classics into his own singing guitar sound.

The fourth studio album, a seven-song concept record whose narrative runs through Tsarist Russia and Rasputin.

Endgame reconnects Megadeth with speed, intricate riffs and high-level ensemble playing.

Fireangel joins Mystic Prophecy’s dark atmosphere to an aggressive power-metal drive.

Outrage's tenth album, out on 25 November 2009. It is the first after Naoki Hashimoto's official return, and it was recorded at Studio Fredman.

Paradise Lost's twelfth album, out on 25 September 2009. Jens Bogren produced it, with Peter Damin on drums.

The third album folds organ and choir into the structure itself and produces “Werewolves of Armenia” — the point where the band's language settles.

The ninth Praying Mantis studio album, released by Frontiers on 5 June 2009 after a six-year gap — the first with Andy Burgess in Dennis Stratton's place. King Records issued the Japanese edition on 23 July with one extra track.

16.6 balances Primal Fear’s speed-metal thrust with the weight of traditional heavy metal.

American Soldier turns the experiences and emotions of soldiers into a highly narrative Queensrÿche album.

Rammstein's sixth album, out on 16 October 2009. Germany placed it on the index of media harmful to minors, and an edited version followed a month later.

The comeback record after the long break that followed Mark Gallagher's injuries, and the first place it appeared was Japan, on King Records, on 25 March 2009.

Saxon's eighteenth album, released on 9 January 2009. It reached six on the UK Rock & Metal chart and twenty-three in Germany.

Sepultura's eleventh studio album, from January 2009, a concept record built on A Clockwork Orange.

Retribution integrates the cutting edge of thrash metal with metalcore’s heaviness at high density.

Shining's sixth album, issued by Osmose Productions in 2009. This is Swedish depressive black metal, led by Niklas Kvarforth.

World Painted Blood condenses Slayer’s long-developed language of violent thrash metal into a sharp late-career statement.

The Days of Grays takes Sonata Arctica beyond speed and immediate catchiness into a more symphonic, intricate world.

Feel the Steel is Steel Panther’s debut celebration and send-up of 1980s glam metal.

Polaris finds Stratovarius opening a new chapter while returning to the essence of its power-metal sound.

A studio album released in 2009.

Sunn O)))'s sixth album, issued by Southern Lord in 2009. It took two years to make and carries a long list of guests, brass and choir among them.

House of Dreams presents Sunstorm’s polished AOR and melodic-rock strengths through finely detailed arrangements.

Deflorate sharpens The Black Dahlia Murder’s mix of melodic-death-metal speed and dark beauty.

Clash of the Elements pushes the clarity of The Poodles’ Scandinavian melodic rock through stronger full-band performances.

Chutzpah! mixes The Wildhearts’ punk urgency with broad hard-rock melody in a sharp, compact form.

Dominator by U.D.O.: track list, Spotify player and English liner notes on METAL BOOST.

UFO's 2009 album, first out in Japan on 20 May, was made without founding bassist Pete Way, who was being treated for a liver condition.

Voivod's twelfth studio album, from 2009: the last to use what Piggy left behind, and the last with Jason Newsted on bass.

Babylon channels W.A.S.P.’s apocalyptic and religious imagery into heavy riffs and theatrical vocals.

W.E.T. brings together seasoned melodic-rock musicians with an unmistakable focus on song strength.

Karma makes clear that Winger is more than a pop-metal memory; it is a hard-rock band with serious musical power.

Black Ice finds AC/DC returning after a long break with thick riffs and Brian Johnson’s full-throated voice firmly in place.

Overcome tightly joins All That Remains’ urgent riffs, low heavy breakdowns and Philip Labonte’s clean vocal.

Black Empire is Anthem's twelfth studio album, released on 29 October 2008. The title track became one of the band's signatures: it was re-recorded in English for Nucleus in 2019 and Nuclear Blast released an official video of it.

Becoming centers Ari Koivunen’s powerful yet clear voice within heavy guitar and lyrical melody.

Phoenix reunites the original Asia lineup around grand keyboards, precise playing and memorable melody.

The Scarecrow brings together Tobias Sammet’s cast of singers with heavy metal and theatrical storytelling.

Backyard Babies channels punk urgency and glam-derived flash into short, rough rock songs.

Subconscious In Xperience combines Blindman’s detailed guitar phrases, clear keyboards and emotionally forward vocals.

Blood Ceremony's debut album, issued by Rise Above Records in 2008. It is occult rock out of Toronto, with a flute in it.

Black Butterfly gathers Buckcherry’s rough guitars, bouncing beat and Josh Todd’s provocative vocal character.

The second Bullet for My Valentine album. BMG Japan released the Japanese edition first, on 23 January 2008, with the UK following on 28 January and the US on 29 January. It entered the Billboard 200 at number four and topped Oricon's international album chart in Japan. Recorded at Sonic Ranch in Texas and produced by Colin Richardson.

Blooddrunk connects Alexi Laiho’s sharp guitar and Janne Wirman’s keyboards to heavier, more aggressive songs.

Cradle of Filth's eighth studio album, from October 2008, a concept record following the life of the fifteenth-century French baron Gilles de Rais.

Killing Season uses Death Angel’s fast riffs and aggressive rhythm as a base while threading melody and shadow through each song.

Songs from the Sparkle Lounge condenses Def Leppard’s thick harmonies, shining guitars and instantly memorable melodies into compact songs.

Dir En Grey's seventh album, from November 2008. It takes its name from the Ouroboros symbol and its subject from reincarnation.

Indestructible gathers Disturbed’s hard guitar riffs, striking rhythm and David Draiman’s singular vocal character.

Lightning Strikes Again returns Dokken to direct melodic metal centered on George Lynch’s cutting guitar and Don Dokken’s vocal.

DragonForce's fourth album, from August 2008. It is the last record with the singer ZP Theart and the first with the bassist Frederic Leclercq.

Dream and Deliver layers shining guitar, broad keyboards and open vocals to present Dreamtide’s refined European melodic-hard-rock sound.

Are You Ready to Rock packs Eclipse’s hard guitar riffs, forward-driving rhythm and memorable choruses into a dense, efficient record.

MyEarthDream pairs Sabine Edelsbacher’s clear voice with Lanvall’s guitar and orchestration to create an expansive fantasy world.

Tinnitus Sanctus centers Edguy on Tobias Sammet’s commanding voice, thick riffs and arena-sized hooks.

Let There Be Blood revisits familiar material through the voice, production weight and arrangement sense of its recording period.

Saudades de Rock puts Nuno Bettencourt’s sharp guitar and Gary Cherone’s expressive voice back at the heart of Extreme.

The Premonition centers Firewind on Gus G’s fluid guitar and Apollo Papathanasio’s forceful voice.

Reincarnation unites Galneryus’s sharp guitar, ornate keyboards and high-reaching vocal into a single driving sound.

The Way of All Flesh uses Gojira’s chiseled riffs, irregular rhythm and low vocal roar to confront themes of life and death.

Chinese Democracy is a large-scale Guns N’ Roses statement built around Axl Rose, dense layers, aggressive guitars and elaborate arrangements.

H.E.A.T’s debut pushes keyboard shimmer, thick guitar and full-band-style choruses straight to the front.

Hope centers Harem Scarem on Harry Hess’s open vocal and Pete Lesperance’s detailed guitar, condensing the strengths of melodic hard rock.

A second album that came out in Japan first, led to Loud Park the next year, and made Japan this band's principal market.

A Sense of Purpose combines In Flames’ cutting guitars and heavy rhythm with electronic texture to push melodic death metal into a more contemporary sound.

The twelfth album. Its title joins his own nickname, Satch, to musterion, a Greek word for a hidden thing.

Revelation introduces Arnel Pineda to Journey’s world of wide keyboards, melodic guitar and arena-sized choruses.

Nostradamus finds Judas Priest building a double-album narrative around the life and myth of the prophet.

The debut. Twelve songs cut by a Swabian band still in their teens, on a Capitol/EMI deal signed within months of forming in 2007. The title song is about where they come from, and it was re-recorded for the self-titled album of 2026.

Hunting Shadows combines Last Autumn’s Dream’s warm keyboards, smooth guitar and melancholy-tinged vocals.

Blind Fire combines Leverage’s thick guitar, lyrical keyboards and powerful vocals into a rich Nordic melodic-metal record.

Metal Mad is the twenty-first Loudness album, released by Tokuma Japan Communications on 20 February 2008. It was the last studio record with Munetaka Higuchi, who died on 30 November that year at the age of 49.

Future Addict places Marty Friedman’s newly reworked older material beside new songs.

Architect of Lies uses Mercenary’s contrast between clean vocal and death growl to join heavy riffs with broad melody.

This Present Wasteland is classic heavy metal built from Metal Church’s thick guitar, hard rhythm and weighty vocal presence.

Death Magnetic brings Metallica’s long forms, shifting riffs and heavy rhythmic attack back to the front.

In the Midst of Beauty places Michael Schenker’s lyrical lead guitar at the center of a modernly framed classic-hard-rock record.

Misery Index's third album, issued by Relapse Records on 30 September 2008. Kurt Ballou recorded it, and Terrorizer named it album of the month.

Saints of Los Angeles uses big choruses and rough riffs to let Mötley Crüe place its past and present in the same frame.

Released on 26 August 2008 and a UK No. 32, Motörizer was the band's last album for SPV / Steamhammer of Germany. Official videos were made for "Rock Out", "Bullet in Your Brain" and "Life's a Bitch".

Dark Horse pushes Nickelback’s heavy riffs, dry beat and Chad Kroeger’s grainy vocal toward even larger hooks.

Rethroned brings several notable Finnish vocalists together to recast familiar songs as heavy, symphonic metal.

Opeth's ninth album, from May 2008, and the first with the guitarist Fredrik Akesson and the drummer Martin Axenrot.

Silence Followed by a Deafening Roar places Paul Gilbert’s virtuosity up front while seeking a different melody and texture in each instrumental piece.

Protest the Hero's second album, out on 29 January 2008. Its ten songs are split into three movements by piano interludes, over about forty-one minutes.

Carved in Stone pairs Peavy Wagner’s forceful voice and Victor Smolski’s varied guitar work with a blend of heavy metal weight and symphonic breadth.

Collision Course... Paradox 2 revisits the world of Royal Hunt’s Paradox through heavy guitar, classical keyboards and dramatic vocal writing.

Cosmic Universal Fashion keeps Sammy Hagar’s hard-rock strength while blending it freely with funk, blues and pop instincts.

The Sound of Madness connects Shinedown’s heavy guitar and hard-driving rhythm to Brent Smith’s dramatic vocal.

Released by AFM Records. The European tour behind it was followed by SINNER's first ever South American and Russian dates.

All Hope Is Gone keeps Slipknot’s destructive riffs and heavy rhythm at the center while moving into broader melody and more complex arrangement.

Forever More keeps Tesla’s live-band directness while adding darker melodies and heavier guitar weight.

The Formation of Damnation reunites Testament around high-tension riffs, precise rhythm and Chuck Billy’s powerful voice.

The Haunted's sixth album, from September 2008, eleven tracks running 39:03.

The Hellacopters' seventh album, released on 18 April 2008: a record of covers, and the last studio album they made before breaking up.

Stop Us If You’ve Heard This One Before, Vol 1. packs The Wildhearts’ thick guitar, sudden turns and sly melodies into concise songs.

Atlantis is built around Tony Harnell’s high-reaching vocal and Ronni Le Tekrø’s fluid guitar work.

Shogun takes Trivium into extended metal forms through complex structures, sharp guitars and Matt Heafy’s strong vocal.

The ninth studio album, issued by Live Wire Records in 2008. At the end of 2024 it was reissued with a new remix by Marco Angioni and new sleeve art by Andy Pilkington, and that reissue is what the player on this page carries.

Return of the Pride finds Mike Tramp bringing White Lion’s open melodies and direct language back to the front.

Good to Be Bad returns Whitesnake to blues-rooted hard rock, built around David Coverdale’s voice with its mixture of power and sensuality.

Perpetual Flame joins Yngwie Malmsteen’s rapid runs and classical harmonic sense to a more forceful vocal presence.

All Ends uses the contrast between two vocalists and hard guitar sound to create a distinctive melodic-metal debut.

The Revenge places Russell Allen’s force and Jorn Lande’s shadowed presence against thick guitar and keyboard support.

Alter Bridge's second album, from October 2007. It reached number 13 on the Billboard 200 and was certified gold by the BPI.

Reptile Ride brings complex rhythm, including odd-meter motion, together with sharp guitar riffs in an aggressive setting.

Silent Waters joins folk-shaped melody, heavy guitar, and Tomi Joutsen’s rich voice in a deeply atmospheric record.

Metal puts Annihilator’s love of heavy metal in the foreground through sharp riffs and changing arrangements.

Worlds Collide connects the low resonance of cello to metal’s riff-driven force through more open songwriting.

Rise of the Tyrant explodes cutting twin guitar and Angela Gossow’s fierce growl over precise rhythm.

Fuel for the Fire introduces Ari Koivunen through powerful high-register vocals and melodic guitar in a classic heavy-metal frame.

Lead Sails Paper Anchor pushes aggressive rhythm and singable melody with equal force.

Avenged Sevenfold packs heavy riffs, dramatic choruses, and ideas that cross hard rock, metal, and progressive music into a self-titled statement.

Doom of Destiny combines bright keyboards, firm guitar, and expressive vocals in a dramatic melodic-rock frame.

Between the Buried and Me's fourth album, out on 18 September 2007. It is split into eight tracks but, with the transitions, plays as one continuous piece.

Lost Highway adds Nashville warmth to Bon Jovi’s large choruses and immediately familiar melodies.

The Unattractive Revolution combines thick riffs, flashy choruses, and a darker mood.

Loud Minority puts thick guitar, bright choruses, and playful vocals at the front of a debut built for instant response.

Tarot layers orchestral keyboard, forceful guitar, and Alfred Romero’s soaring voice into a fantasy-rich record.

Fiction layers urgent riffs, electronic texture, and Mikael Stanne’s emotional voice into a cold but deeply human sound.

Ziltoid the Omniscient uses layered guitar, thick choruses, and eccentric narration to create a cosmic story.

He Who Shall Not Bleed compresses Dimension Zero’s cutting riffs and explosive speed into a stripped-down attack.

Dir En Grey's sixth album, released on 7 February 2007 and recorded across various locations between December 2005 and January 2007.

Down's third album, from September 2007, also known as Down III: Over the Under. Its anger comes out of New Orleans after Hurricane Katrina.

Systematic Chaos brings complex meter, heavy guitar, and detailed keyboard work into a single large-scale flow.

The Divine Conspiracy layers Simone Simons’s clear voice, Mark Jansen’s growl, and orchestral sweep into a richly multi-level sound.

The Atrocity Exhibition... Exhibit A pushes Exodus’s thrash attack toward an extreme through slicing riffs and relentlessly accelerating rhythm.

The Way of the Fist introduces Five Finger Death Punch through low chugging guitar, heavyweight breakdowns, and Ivan Moody’s raw voice.

Dimensions pours bright melody, fast beats, and stacked choruses into a thoroughly celebratory power-metal record.

One for All - All for One combines Syu’s fluid guitar, bright keyboard color, and YAMA-B’s strong voice at high density.

Land of the Free II celebrates power metal’s sense of release through fast riffs and uplifting choruses.

Domino Effect balances Steve Lee’s rich voice and Leo Leoni’s guitar with real weight and broad accessibility.

Great White's tenth studio album, released by Shrapnel on 17 July 2007, was its first in eight years, made after the band reunited in January 2007.

Street Poetry plays Hanoi Rocks’ sharp guitar, buoyant rhythm, and Michael Monroe’s flexible voice with vivid immediacy.

Dreamin' in a Casket by HARDCORE SUPERSTAR: track list, Spotify player and English liner notes on METAL BOOST.

Gambling with the Devil balances Helloween’s sharp speed-metal attack with melody-rich songwriting.

HIM's sixth album, from September 2007. It is regarded as their heaviest and darkest, and its number twelve on the Billboard 200 is the band's highest American placing.

Megatropolis combines mechanical riffs, forceful choruses, and expansive science-fiction imagery.

Ghost Opera combines heavy guitar, classical keyboard color, and Roy Khan’s shadowed voice on a grand scale.

Untitled combines low, coiling riffs, electronic noise, and Jonathan Davis’s urgent voice.

6 Days to Nowhere unifies complex arrangements, vivid guitar, and Roberto Tiranti’s strong voice.

Red Planet Boulevard uses rich keyboards, fluid guitar, and Lana Lane’s soaring voice to sketch a cosmic sense of space.

Saturn Skyline layers soft keyboards, fluid guitar, and Mikael Erlandsson’s warm voice with care.

Waters Rising by LILLIAN AXE: track list, Spotify player and English liner notes on METAL BOOST.

Minutes to Midnight moves beyond Linkin Park’s earlier reliance on rap and heavy riffing toward direct rock songs and quieter emotion.

The Blackening joins massive riffs, complex structures, and Robb Flynn’s urgent voice into a unified flow.

MK II integrates polished keyboards, heavy guitar, and dramatic vocals into a focused melodic-metal record.

United Abominations connects political frustration to intricate guitar work with a renewed sense of attack.

Ministry's eleventh album, out on 18 September 2007. It includes a reading of the Doors' Roadhouse Blues.

Municipal Waste's third album, issued by Earache Records in 2007. It was inducted into the Decibel Hall of Fame in 2020.

Satanic Curses builds dark power metal around low, heavy guitar and an imposing vocal presence.

Hole in the Sun finds Night Ranger returning to melodic rock with a contemporary outline.

Dark Passion Play connects Nightwish’s metal drive and full-orchestra sweep to a more ambitious narrative world.

The 8th Sin sets hard guitar riffs and Jonny Lindqvist’s commanding voice inside concise, efficient songs.

Reborn uses several distinctive voices and weighty arrangements to remake pop and rock favorites as symphonic metal.

Overkill's fourteenth album, from October 2007 on Bodog Music, which reunited them with Jon and Marsha Zazula of Megaforce; Lamb of God's Randy Blythe guests.

Black Rain sets Ozzy Osbourne’s unmistakable voice against thick guitar and hard-edged rhythm.

Paradise Lost's eleventh album and their first for Century Media, released on 21 May 2007: a turn back towards their earlier sound, as their Japanese label put it.

In10sity by PINK CREAM 69: track list, album artwork and English liner notes on METAL BOOST.

Poison'd! finds Poison recasting rock, power-pop, and Southern-rock favorites in the band’s bright, easygoing hard-rock language.

Porcupine Tree's ninth album, out on 16 April 2007. Classic Rock magazine named it its album of the year.

Portal's second album, issued by Profound Lore Records in 2007. The Australian band mix death metal with black metal and dark ambient.

“The wolf of God” — a second album that ties liturgical language to animal folklore head-on, and the home of “Prayer In the Dark.”

Pride of Lions' third studio album, from 2007. Jim Peterik described its twelve songs as a return to the commercial AOR of the debut and of Survivor's Vital Signs; Nexus issued the Japanese edition on 21 February.

New Religion brings hard riffs, precise rhythm, and Ralf Scheepers’s high-register voice together on an arena-sized scale.

Primordial's sixth album, from 2007. It was recorded entirely on analogue equipment, mostly in first or second takes.

Queens of the Stone Age's fifth album, from June 2007 and their last for Interscope. Josh Homme called the sound dark, hard and electrical.

Take Cover is a covers album on which QUEENSRYCHE recasts songs by artists as varied as Pink Floyd and Peter Gabriel in its own sound.

Snakes & Arrows brings Rush’s intricate construction and accessible hooks together in a measured sonic frame.

Saxon's seventeenth album, from March 2007. It is the first with the drummer Nigel Glockler back since 1997.

Humanity: Hour I keeps Scorpions’ heavy riffs and large melodic instincts while stepping into a more modern, shadowed sound.

Threads of Life gathers rough riffs, fluid lead guitar, and Brian Fair’s roar into a forceful whole.

Immortal combines complex rhythm, bright keyboard color, and strong melody in a renewed lineup.

Recorded at Leon studio outside Stuttgart with engineers Achim Köhler and Samson Geiger, and issued by MTM Music. Former Primal Fear drummer Klaus Sperling plays on it.

Sworn to a Great Divide combines low, chugging riffs, electronic treatment, and Björn “Speed” Strid’s varied vocals.

Unia moves beyond Sonata Arctica’s familiar speed by bringing complex structures and more inward feeling to the front.

The Serpent combines electronic texture, hard guitar, and emotional vocals into a dark metalcore frame.

Paradise Lost joins complex riffs, symphonic keyboard work, and Russell Allen’s commanding voice to a darker, heavier sound.

Real to Reel is a covers album on which TESLA takes up the 1960s and 1970s rock classics at its roots and plays them in its earthy, bluesy sound.

Nocturnal fires terrifyingly fast riffs, cutting melody, and Trevor Strnad’s roar in one concentrated burst.

Born into This compresses the Cult’s thick riffs and airy, psychedelic atmosphere into focused songs.

Sweet Trade gathers soaring vocals, shimmering keyboards, and crisp guitar into clear, open songwriting.

The Wildhearts packs rough guitar, sudden turns, and sweet melody into a self-titled statement.

The New Territory builds polished melodic hard rock around Ronni Le Tekrø’s fluid guitar and Tony Harnell’s high, clear voice.

Turisas's second album, issued by Century Media in 2007. It is a concept album following a party down the river routes of medieval Rus to the Eastern Roman Empire.

Swinelords mixes sharp guitar, agile rhythm, and twisted vocal melody into a distinctive hard-rock-and-metal blend.

Mastercutor joins thick riffs, marching rhythm, and Udo Dirkschneider’s instantly recognizable voice into a single hard-metal drive.

Velvet Revolver's second and last studio album, produced by Brendan O'Brien and released on 3 July 2007, entered the Billboard 200 at number five.

Dominator uses W.A.S.P.’s dramatic heavy-metal language to emphasize pressure and anger.

The Heart of Everything joins heavy guitar and cinematic orchestration to Sharon den Adel’s clear voice.

Wolves in the Throne Room's second album, issued by Southern Lord in 2007. The recording makes almost no use of digital effects or manipulation.

The Fall of Ideals packs All That Remains’ chugging guitars, breakdowns, and Phil Labonte’s harsh-to-clean vocal contrast into dense, sharply focused songs.

The Fallen Empire joins heavy guitar riffs to clear melody through orderly, polished arrangements.

Amon Amarth's sixth album, released in Europe on 22 September 2006. It was their first to enter the Billboard charts.

Eclipse opens a new Amorphis chapter with Tomi Joutsen, balancing Nordic shadow, folk-shaped melody, and heavy metal riffs.

Aurora Consurgens uses Angra’s shifting rhythms, detailed guitar, and Edu Falaschi’s expressive voice to shape progressive power metal with both tension and lyricism.

Immortal is Anthem's eleventh studio album, released on 30 August 2006, with a European edition following in the autumn of 2007 - the point at which the reformed band began looking beyond Japan.

A Death-Grip on Yesterday compresses Atreyu’s sharp riffs, breakdowns, harsh vocals, and melodic singing into tighter songs.

Paradise in Flames builds dramatic European metal around clear melody and firm riffs.

People Like People Like People Like Us puts Backyard Babies’ punk-sprint energy and Swedish garage/sleaze-rock grit right at the front.

Shot to Hell builds Black Label Society around Zakk Wylde’s thick guitar, low rolling rhythm, and rough vocal style.

Black Stone Cherry's debut album, issued by Roadrunner Records on 18 July 2006. Three singles were taken from it.

Blind Guardian's eighth album, released in September 2006: the first with drummer Frederik Ehmke, after founding member Thomen Stauch had left.

Pain for the Pleasure joins Blindman’s expansive vocal lines, melodic guitar, and full keyboards into dramatic melodic hard rock.

Celtic Frost's sixth album, from May 2006. It was their first new recording in sixteen years and their last studio album.

Cradle of Filth's seventh studio album, from October 2006, and the one with Ville Valo of HIM singing on it.

Yeah! is a strongly concept-driven covers album that translates the originals into a DEF LEPPARD-like sound.

Synchestra lets Devin Townsend combine heavy guitars, stacked choirs, electronic texture, and pop melody with almost excessive freedom.

DRAGONLAND's fourth album, released by Century Media in 2006 and mixed by Fredrik Nordström. A stand-alone record apart from the saga, it features guest female vocals from Elize Ryd, later of AMARANTHE.

United puts Dream Evil’s thick riffs, forceful beat, and crowd-ready choruses in the foreground.

Eagles of Death Metal's second album, released in the United States on 11 April 2006. Every song is by Jesse Hughes and Josh Homme.

The Grand Design joins classical-flavored keyboards, heavy guitar, and Sabine Edelsbacher’s clear voice into Edenbridge’s symphonic metal.

Rocket Ride keeps Edguy rooted in fast power metal while bringing glam and hard-rock color, humor, and big hooks much further forward.

Secret Society by EUROPE: track list, Spotify player and English liner notes on METAL BOOST.

The Open Door centers Amy Lee’s strong yet delicate voice within piano, strings, and heavy guitar.

Brother's Keeper is Fair Warning's comeback record, shaping wistful melodic hard rock from soft keyboards, fluid guitar and Tommy Heart's soaring voice.

Allegiance brings together Gus G’s cutting guitar, forward-driving rhythm, and Apollo Papathanasio’s powerful vocal.

Beyond the End of Despair... combines Galneryus’s fast rhythm section, Syu’s fluid guitar, and YAMA-B’s high-reaching vocal.

IV gathers Godsmack’s low, rolling guitar riffs, tight drumming, and Sully Erna’s rough vocal character into a concentrated record.

Human Nature combines Harry Hess’s rich vocal, Pete Lesperance’s fluid guitar, and precise rhythm work.

The fourth album, released by Roadrunner Records: thirteen songs including "Destroy Everything".

Come Clarity connects In Flames’ cutting twin guitars and mechanical rhythmic drive to Anders Fridén’s mix of harsh and clean expression.

A Matter of Life and Death joins Iron Maiden’s multi-guitar harmonies and extended structures to weighty themes of war and belief.

The eleventh album, out on 14 March 2006. Its closing track, Crowd Chant, became a fixture in North American arenas.

As Daylight Dies connects Killswitch Engage’s hard riffs, tight breakdowns, and Howard Jones’s powerful voice.

Lacuna Coil's fourth studio album, released in 2006, reached number 28 on the Billboard 200 and closes with Depeche Mode's "Enjoy the Silence".

Sacrament combines Lamb of God’s precise guitar chug, twisted rhythms, and Randy Blythe’s raw voice.

Winter in Paradise combines soft keyboards, expansive vocals, and smooth guitar to connect Nordic AOR melancholy with melodic-hard-rock momentum.

Tides is Leverage’s debut, combining thick guitar riffs, low-centered rhythm, and expansive vocals.

Lifelover's debut album, issued by GoatowaRex in July 2006. It is the first record of what the band called "narcotic metal".

Breaking the Taboo is the twentieth Loudness album, released by Tokuma Japan Communications on 27 December 2006, and the seventh made since the original line-up reunited.

Loudspeaker takes Marty Friedman’s sharp metal-guitar voice deep into melodies shaped by Japanese pop and kayōkyoku sensibility.

The third studio album, and the band's first for the major label Reprise. "Colony of Birchmen" was nominated for Best Metal Performance at the 49th Grammy Awards.

The Hours That Remain keeps Mercenary’s sharp riffs and double-kick propulsion while bringing more clean vocal and memorable melody to the front.

A Light in the Dark centers Metal Church on cutting riffs, low heavy rhythm, and strong vocal presence.

Tales of Rock'n'Roll reunites Michael Schenker with a range of past vocal collaborators and presents his melodic guitar world anew.

Ministry's tenth album, out on 2 May 2006, and one of the records their biography places in its political run.

Kiss of Death was released on 29 August 2006. An official video was made for "Be My Baby", and a half-speed-remastered twentieth-anniversary edition followed in 2026.

My Chemical Romance's third album, from October 2006. It is a concept album about a man with terminal cancer known as The Patient.

Savage Souls puts Mystic Prophecy’s low, cutting riffs, hard rhythms, and forceful vocal delivery in the foreground.

Get Out of My Yard makes Paul Gilbert’s guitar the central voice in a fully instrumental setting.

The first album for Frontiers, held over from 2005 to 2006 while the drum and keyboard chairs both changed hands.

Operation: Mindcrime II returns Queensrÿche to the story begun in 1988, turning its characters’ conflict and resolution into dramatic metal.

Rehab finds Quiet Riot moving toward unadorned hard rock built from blues-rooted guitar, thick rhythm, and Kevin DuBrow’s distinctive voice.

Speak of the Dead places an orchestral suite beside direct heavy-metal songs, showing Rage at two different scales.

Triumph or Agony combines orchestra, choir, symphonic keyboards, and fast guitar to build Rhapsody of Fire’s fantasy world.

Army of One centers Riot on sharp twin guitars, forceful beat, and expansive vocal lines.

Livin' It Up! finds Sammy Hagar using thick guitar, lively beat, and an open vocal to make relaxed hard rock.

Sepultura's tenth studio album, from March 2006, built on Dante's Divine Comedy and the last with Igor Cavalera.

Revolutions per Minute finds Skid Row using thick guitar, rough rhythm, and urgent vocals for a harder punk- and hardcore-leaning metal sound.

Christ Illusion puts Slayer’s cutting riffs, accelerating drums, and Tom Araya’s furious presence in the foreground.

Come What(ever) May gathers heavy guitar riffs, introspective vocals, and wide-open ballad feeling into a broader Stone Sour statement.

Sunstorm centers Joe Lynn Turner’s powerful, smooth voice within bright keyboards, full guitar, and polished harmonies.

7 centers Talisman on Jeff Scott Soto’s soulful vocal, Marcel Jacob’s rolling bass, and sharp guitar in a groove-led melodic-hard-rock setting.

The Gazette's second album, issued by King Records on 8 February 2006. It reached number ten on the Oricon chart and was their first record released in Europe.

The Haunted's fifth album, released on 30 October 2006: thirteen tracks whose titles all begin with The.

Metal Will Stand Tall is The Poodles’ debut, built from wide-open choruses, bright keyboards, and firm guitars.

Wounds Wide Open combines To/Die/For’s cold guitar color, sunken rhythm, and melancholy vocal character.

Tool's fourth album, released on 2 May 2006: self-produced, a Billboard 200 number one, in a Grammy-winning package with stereoscopic lenses.

Falling in Between joins Toto’s polished pop instinct to hard-rock weight and progressive construction.

The Crusade pushes Trivium toward more classic thrash and heavy metal through rapid chugging, twin guitars, and hard rhythm.

A Twisted Christmas is a covers album on which TWISTED SISTER plays standard Christmas songs in the language of heavy and glam metal.

UFO's album of 25 September 2006 brought founding drummer Andy Parker back and was the band's last album with bassist Pete Way.

Live & Learn brings Vixen’s large choruses, clear guitar work, and melody-supporting rhythm into a reunion-era melodic-hard-rock setting.

Voivod's eleventh studio album, from July 2006, built from the guitar and bass tracks Piggy had recorded before he died.

Born Again returns Warrant to direct hard rock built from thick guitar, lively beat, and instantly singable chorus.

IV reunites Winger around precise rhythm work, intricate guitar, and Kip Winger’s expansive vocal.

Witch's debut album, issued by Tee Pee Records in 2006. J Mascis of Dinosaur Jr. plays the drums.

The Battle centers the record on the contrasting vocal personalities of Russell Allen and Jorn Lande.

Decrowning combines cutting thrash riffs, complex rhythm and low harsh vocals into an aggressive metal record.

Schizo Deluxe centers Jeff Waters’s cutting guitar around fast rhythm and uneasy melody.

Apocalyptica joins the low resonance of cellos to heavy riffs and live-band momentum.

Doomsday Machine builds its attack from heavy chugging, fluent twin leads and Angela Gossow’s fierce growl.

City of Evil combines intricate twin-guitar lines, restless rhythm and expansive vocals.

Above and Beyond layers bright keys, polished guitar and open vocals into Scandinavian melodic rock.

Deuce by BEAUTIFUL CREATURES: track list, Spotify player, music videos and English liner notes on METAL BOOST.

Between the Buried and Me's third album, out on 6 September 2005. It is the first record by the band's longest-lasting line-up.

Mafia anchors its sound in heavily distorted guitar, low groove and Zakk Wylde’s rough vocal character.

Have a Nice Day centers thick guitar, accessible melody and Jon Bon Jovi’s direct vocal delivery.

15 is built on simple, strong riffs, springing beat and Josh Todd’s rough-edged vocal delivery.

The debut album, released by Visible Noise on 3 October 2005 and widely credited with defining British metalcore. "Tears Don't Fall" is still the band's signature song. The Japanese edition followed on 26 October with two live recordings added, for fifteen tracks.

Cathedral's eighth album and first for Nuclear Blast, from September 2005: female vocals, violins and the 27-minute closing epic "The Garden".

Are You Dead Yet? puts sharp guitar, flashy keys and Alexi Laiho’s rough vocal delivery at the front.

Rest in Sleaze puts thick guitar, springing beat and provocative vocals at the front of a sleaze-rock debut.

Beyond the Sea combines shimmering keyboards, neoclassical guitar and storybook melody into a fantasy-minded record.

Character layers low, clipped guitars, mechanical rhythm and cold keyboard atmosphere into a tightly controlled record.

Darkest Hour's fourth album, out on 28 June 2005. It was their first to enter the Billboard 200, debuting at number 138.

Rapture of the Deep lets Steve Morse’s guitar, Don Airey’s keys and Ian Gillan’s voice interact with natural ease.

Dir En Grey's fifth album, out on 9 March 2005. It was the first of their records given an official release in Europe, North America and South Korea.

Ten Thousand Fists gathers hard chugging guitar, striking beat and David Draiman’s singular vocal character.

DragonForce's third album, out first in Japan in December 2005: the record whose "Through the Fire and Flames" reached the world through Guitar Hero III.

Octavarium balances complex rhythm, fluent keyboard and virtuosic guitar with accessible vocal melody.

Consign to Oblivion crosses Simone Simons’s clear voice with growls, choir, heavy riffing and orchestral scale.

Shovel Headed Kill Machine charges forward on rapid chugging, sharp guitar and a snarling vocal attack.

Fear Factory's sixth studio album, from August 2005 and the last with Raymond Herrera and Christian Olde Wolbers.

Forged by Fire by FIREWIND: track list, Spotify player and English liner notes on METAL BOOST.

The Circle of Life layers lively twin guitar, bright keys and massed chorus hooks into celebratory power metal.

Advance to the Fall stacks fast twin guitar, bright keyboard work and soaring high vocals into a vivid power-metal record.

Majestic runs on fast guitar, bright melody and Kai Hansen’s forceful vocal drive.

From Mars to Sirius builds enormous weight from low surging guitar, precise drumming and rough vocal force.

Lipservice centers thick riffs and clean rhythm around Steve Lee’s rich vocal presence.

Another Hostile Takeover runs on loose, hot guitar, springing rhythm and Michael Monroe’s unmistakable vocal character.

Hardcore Superstar builds its sound from hard guitar, low groove and Jocke Berg’s rough vocal attack.

Overload uses polished guitar, emotive melody and detailed harmony to build highly crafted melodic rock.

Keeper of the Seven Keys: The Legacy uses fast twin guitar, dramatic keys and Andi Deris’s voice to frame an expansive double-album statement.

High on Fire's third album, issued by Relapse Records in 2005. Steve Albini produced it, and it is the only one with Joe Preston on bass.

HIM's fifth album, from September 2005: their first worldwide release on Sire Records, and the record that made them the first Finnish band to earn a gold disc in the United States.

Generations uses clear guitar, full keys and open, comfortable vocals to shape mature arena rock.

Angel of Retribution puts thick riffs, sharp twin leads and Rob Halford’s high-voltage voice directly at the front.

The Black Halo layers dark riffs and symphonic arrangement around Roy Khan’s expressive voice.

See You on the Other Side combines low surging guitar, programmed-feeling rhythm and Jonathan Davis’s uneasy vocal character.

Kreator's eleventh studio album, from January 2005, produced by Andy Sneap and the record that settled their return.

The ninth L.A. Guns studio album, released by Shrapnel Records on 16 August 2005. Fourteen songs by the Phil Lewis and Steve Riley line-up, written around the memory of the Sunset Strip.

Freeman by LABYRINTH: track list, album artwork and English liner notes on METAL BOOST.

Lady Macbeth builds a dramatic setting from rich keyboards, fluent guitar and Lana Lane’s clear, expressive voice.

II layers clear vocals, polished guitar and rich harmony into smooth Scandinavian melodic rock.

Aeronautics builds its dramatic melodic metal around heavy guitars, organ-like keys and Jorn Lande’s commanding voice.

Nevermore's sixth album, from July 2005. Recorded in England with Andy Sneap producing, it is the record most often named as the band's best.

All the Right Reasons uses heavy riffs, dry rhythm and Chad Kroeger’s grainy voice as a hard-rock foundation.

Grand Illusion sets tightly chugging guitar and steady rhythm beneath soaring vocals.

Opeth's eighth album, from August 2005. It was their first for Roadrunner and the first with keyboard player Per Wiberg as a permanent member.

Overkill's thirteenth album, released in March 2005 after a Japanese edition in February: the last with Tim Mallare, their drummer since 1993.

Under Cover is a covers album of classic 1960s and 1970s rock songs, OZZY OSBOURNE's own roots, sung in his distinctive voice.

Paradise Lost's tenth album and the one that bears the band's own name, released on 17 March 2005: the first with Jeff Singer on drums.

Space Ship One puts Paul Gilbert’s fluent guitar at the front while keeping the songs open and approachable.

Church organ, an operatic voice and straight-driving riffs: the debut on which Powerwolf's style is already assembled.

Seven Seals puts tightly chugging guitar, driving drums and Ralf Scheepers’s high vocal power at the front.

Queens of the Stone Age's fourth album, from March 2005, made after Nick Oliveri's departure and with Troy Van Leeuwen and Joey Castillo newly in the band.

Rammstein's fifth album, from 2005. It includes six songs written for the previous album and left off it.

Paper Blood layers dense keyboard arrangement, hard guitar and forceful vocals into a dramatic progressive-metal setting.

The Funeral Album builds deep shade from sunken riffs, heavy groove and Ville Laihiala’s low vocal presence.

Reason builds a dramatic sound around Andre Matos’s soaring voice, thick keys and classically colored guitar.

Us and Them combines hard riffs, steady rhythm and Brent Smith’s emotionally forceful voice.

Sunset and Vine layers clear vocals, polished guitar and full harmonies into mature melodic rock.

Stabbing the Drama combines low chugging riffs, electronic texture and Björn “Speed” Strid’s varied vocals.

The seventh album, the first part of what Vai calls a rock fable told across three records. Out 22 February 2005.

Of Love and Lunacy balances hard riffs and breakdowns with switching screams, clean vocals and subtle keyboard shade.

Stratovarius uses hard guitar, restrained keys and Timo Kotipelto’s voice to create a darker power-metal profile.

A studio album released in 2005, fifteen years after the one before it.

System of a Down's fifth album, out on 22 November 2005: the second half of the two-part work begun with Mezmerize, and their second number-one album that year.

System of a Down's fourth album, out on 17 May 2005: the first half of a two-part work completed by Hypnotize, and a number-one debut on the Billboard 200.

Miasma fires forward with rapid riffs, cutting guitar harmony and relentless harsh vocals.

The Darkness's second album, released in November 2005 and produced by Queen's Roy Thomas Baker, with pan pipes, bagpipes and an orchestra layered in.

The Hellacopters' sixth album, released on 6 June 2005 and a number three in Sweden.

All the Way to the Sun centers Tony Harnell’s soaring voice and Ronni Le Tekrø’s fluent guitar.

IV uses dark guitar, low-set rhythm and melancholy vocals to build gothic-metal shade.

Ascendancy drives forward on cutting riffs, hard rhythm and vocals that move between screams and clean lines.

A live album released by Angel Air Records on 6 June 2005 as SJPCD206. The band's own discography lists it under a different title, Live In Dokkum, Holland '05. Three bonus studio recordings close the disc.

Mission No. X puts thick guitar, solid beat and Udo Dirkschneider’s rough, singular voice directly up front.

Unleash the Fury is driven by flowing shred, classical harmony and forceful riffing.

Honkin’ on Bobo revisits blues standards as rough, living Aerosmith rock and roll.

This Darkened Heart introduces All That Remains through cutting riffs, raw vocals and racing rhythm.

Divinity brings together thick guitars, bright keyboards and soaring vocals in a focused Altaria record.

Wound Creations introduces Amoral through rapidly changing guitar riffs, abrupt rhythmic shifts and raw growls at high density.

Temple of Shadows combines fast guitar, classical arrangement, Brazilian rhythmic color and soaring vocals to tell a story on a large scale.

All for You keeps Annihilator’s cutting guitar work and bold shifts in arrangement while bringing more singable melody to the front.

Eternal Warrior is Anthem's tenth studio album, released on 21 July 2004. The title track is among the signatures of the band's second era and was re-recorded in English for Nucleus in 2019.

The Greater of Two Evils revisits familiar material through the voice, production weight and arrangement sense of its recording period.

Silent Nation joins expansive keyboards, polished guitar and melody-rich writing in a mature Asia statement.

The Curse combines Atreyu’s sharp riffs, intense screams and highly singable choruses.

Time Machine joins Axxis’s bright melodic instinct to muscular guitar work with real care.

Hangover Music Vol. VI steps away from Black Label Society’s usual riff-heavy attack toward acoustic guitar, piano and melancholy melody.

Cradle of Filth's sixth studio album, from September 2004: their biggest seller, and the one whose title track brought a Grammy nomination.

The Art of Dying brings Death Angel back to the thrash-metal front through sharp riffs, shifting rhythms and tense vocals.

Dio's tenth and last studio album, released in Europe on 30 August 2004, brought back guitarist Craig Goldy and had Jeff Pilson on bass.

Hell to Pay is built around fluid guitar phrases, thick riffs and shadowed melody in a steady Dokken form.

DragonForce's second album, from 2004, and the first with bassist Adrian Lambert and drummer Dave Mackintosh.

DRAGONLAND's third album, first released in Japan on King Records' Metal Frontier line on 27 October 2004, ahead of Century Media's 2005 European edition. A stand-alone record separate from the saga, it features EVERGREY's Tom S. Englund as co-producer and guest vocalist, and is the first album with Jesse Lindskog on drums.

The Book of Heavy Metal uses thick riffs, racing beat and proud choruses to state Dream Evil’s love of heavy metal without hesitation.

Second to None introduces Eclipse through hard guitar riffs, clear melody and a polished modern sound.

Shine layers clear vocals, bright keyboards and heavy guitar to create Edenbridge’s fantastical soundscape.

Hellfire Club combines racing rhythm, thick guitars and theatrical choruses on a grand Edguy scale.

Start from the Dark moves Europe away from its brightest 1980s image toward low, heavy guitar riffs and shadowed vocals.

Tempo of the Damned reasserts Exodus through slicing riffs, accelerating beats and a raw vocal attack.

FWX uses sharp guitar, restrained rhythm and shadowed vocals to create progressive metal that turns inward.

Fear Factory's fifth studio album, from 2004. It was made without Dino Cazares and reached number thirty on the American Billboard 200, their best placing at the time.

Jupiters Darling naturally places heavy-guitar rockers beside quieter songs shaped by acoustic texture.

A debut eight years in the making, home to "Steel Lord on Wheels" — the record that carried Brazilian power metal abroad.

Soundtrack to Your Escape combines sharp guitar riffs, a mechanical rhythmic feel and shadowed melody in a more compact In Flames form.

Battering Ram joins metallic guitar riffs, machine-precise rhythm and powerful vocals in classic Iron Savior fashion.

Lost in the Translation centers on Jeff Scott Soto’s soaring, expressive voice while moving between hard rock, AOR and soulful nuance.

The tenth album, out on 13 April 2004, and the first since 1995 on which Satriani sings.

The End of Heartache tightly joins Killswitch Engage’s heavyweight guitars, urgent screams and soaring clean vocals.

Ashes of the Wake packs low, rolling riffs, sharply shifting rhythm and raw roars into overwhelming density.

Abyss brings together thick guitar riffs, shadowed keyboards and emotionally rich vocals in a focused Lionsheart setting.

Racing is the nineteenth Loudness album, released by Tokuma Japan Communications on 25 November 2004. It brought back the band's classic logo, and an all-English version followed in 2005.

Rock Shocks is a self-cover album released by Tokuma Japan Communications on 27 October 2004, on which the reunited original line-up re-recorded the band's best-known songs of the 1980s.

Terror is the eighteenth Loudness album, released by Tokuma Japan Communications on 7 January 2004. Built around a theme of horror and dread, it is among the heaviest records the band has made, and the artwork carries the same theme.

The second studio album, a concept record drawn from Herman Melville's Moby-Dick and the band's last for Relapse Records. It opens with "Blood and Thunder".

The System Has Failed sharpens Megadeth’s identity through cutting riffs, shifting rhythm and Dave Mustaine’s distinctive vocal delivery.

11 Dreams tightly combines heavy riffs, shifting rhythm and the contrast between clean vocals and growls.

The Weight of the World uses hard guitar riffs, heavy-footed beat and forceful vocals to push traditional heavy-metal weight to the front.

Jericho layers bright keyboards, firm guitar and dramatic vocals with great care.

Ministry's ninth album, out on 22 June 2004. Every song but Walrus takes a title beginning with W.

Inferno was released on 22 June 2004. The following year the band won the Grammy for Best Metal Performance with their cover of Metallica's "Whiplash".

Never-Ending connects low, heavy riffs, powerful vocals and commanding choruses in a direct Mystic Prophecy statement.

Neurosis's eighth album, from 2004. It pulls back the folk leanings of its predecessor and moves closer to post-rock, with more industrial textures.

Once unites heavy guitar, large-scale orchestra and operatic vocal power into a cinematic Nightwish statement.

New World Messiah gathers fast twin-guitar lines, steady rhythm and commanding vocals into a focused Nocturnal Rites statement.

Outrage's ninth album, out on 21 April 2004, from the years when they worked as a trio with Yoshihiro Yasui singing. Deadbeat was also issued as a single.

Pig Destroyer's third album, issued by Relapse Records in 2004. Its subject is an obsession with an unnamed woman.

Thunderdome brings Pink Cream 69’s heavy guitars and polished melodies together inside a tightly focused sound.

Pride of Lions' second studio album, from 2004 — twelve songs Jim Peterik has called an experiment towards more progressive, epic rock. Nexus released the Japanese edition first, on 27 October, as KICP-1030.

Devil’s Ground connects heavy guitar, a solid rhythmic foundation and piercing high-register vocals in the most direct Primal Fear manner.

Rammstein's fourth album, released on 27 September 2004. It went to number one in seven countries.

Symphony of Enchanted Lands II layers fast guitar, grand orchestra, choir and narration to build a vast fantasy world in sound.

Saxon's sixteenth album, released on 20 September 2004. It is the only studio album with Jorg Michael on drums.

Unbreakable brings Scorpions back to a hard-rock core of low-slung riffs, steady beat and powerful vocal delivery.

The War Within uses slicing twin guitars, heavy breakdowns and fierce vocals while still pushing memorable melody to the front.

Vol. 3: (The Subliminal Verses) keeps Slipknot’s destructive riffs and urgent vocals while drawing in more melody, silence and strange texture.

Reckoning Night brings fast keyboard work, sharp guitars and soaring vocals together in dramatic Sonata Arctica power metal.

Into the Now returns Tesla to the kind of rock and roll built on unadorned riffs, sturdy rhythm and seasoned vocals.

The Haunted's fourth album, out on 18 October 2004. Peter Dolving returned to sing on it after two albums away.

The first album by Tak Matsumoto's international hard-rock group with Eric Martin and Jack Blades — fourteen songs where Japanese and American rock instincts meet head-on.

My Religion places TNT’s vivid guitar movement and soaring melody inside tightly built songs.

Plague-House Puppet Show uses hard guitar, bright keyboards and light-footed vocals to create colorful Twilightning melodic metal.

Still Hungry revisits songs from the Stay Hungry period with a more immediate, heavier performance feel.

Thunderball runs on short, cutting riffs, an unshakable beat and Udo Dirkschneider’s unmistakably rough vocal character.

Released in Europe on 16 February 2004, this was UFO's first album with Vinnie Moore and Jason Bonham, produced by Tommy Newton near Hanover.

Velvet Revolver's debut album, released by RCA on 8 June 2004, entered the Billboard 200 at number one and was certified double platinum.

The Neon God: Part 1 – The Rise uses heavy guitar, shadowed vocals and dramatic movement to tell the story of a central character.

The Neon God: Part 2 – The Demise takes the story begun in the first volume into darker, heavier territory.

Wintersun's debut album, from 2004. It was then Jari Maenpaa's solo project, and it was eight years in the making.

Witchcraft's debut album, issued by Rise Above Records in 2004. It is the first record by a group that began as a one-song tribute band.

The Silent Force combines heavy guitar, cinematic orchestra and clear, luminous vocals to create large emotional waves.

Invitation uses fast guitar, glittering keyboards and powerful vocals to make bright, dramatic Finnish power metal.

Far from the Sun keeps heavy guitar underneath softer vocals, expansive keyboards and subdued melody.

Anathema's seventh album, released in the United Kingdom on 3 November 2003. It is the first record after the return of their original bassist Jamie Cavanagh.

We've Come for You All connects Anthrax’s sharp riffs and springing rhythm to John Bush’s forceful vocals inside a modern, hard-edged production.

Reflections places the cello at the center of both riff and melody, combining its resonance with heavy rhythm and classical tension.

Anthems of Rebellion pairs cutting twin guitar, heavy rhythm and Angela Gossow’s fierce roar in a high-level balance of aggression and melody.

Waking the Fallen joins harsh roars, heavy breakdowns and twin-guitar melody into music that balances aggression with drama.

Stockholm Syndrome uses distorted guitar, rough vocals and punkish beat to make rock and roll with a dangerous scent.

The Blessed Hellride joins Zakk Wylde’s thick riffing and Southern-blues feeling to a dragging, heavy groove.

Soul Talks, Melodies Walk layers smooth vocals, full keyboards and poised guitar into hard rock that values melody.

This Left Feels Right is a useful way to hear BON JOVI from a different angle within the 2003 catalogue.

Cave In's third album, from 2003. It was their only record for RCA, and it trades most of the metal for spacious progressive rock.

Hate Crew Deathroll throws sharp guitar, urgent keyboards and harsh vocals together at high speed.

Coheed and Cambria's second album, issued by Equal Vision on 7 October 2003. It is the second instalment of the Amory Wars tetralogy.

Cradle of Filth's fifth studio album, from March 2003: their only record for a major label, drawn from Milton's Paradise Lost.

Sign of Madness combines thick guitar riffs, steady beat and soaring vocals in melodic hard rock that keeps songcraft at the center.

Dark Moor uses fast guitar, classical-flavored keyboards and thick chorus work to draw the color of symphonic power metal.

David Lee Roth's album of 8 July 2003 on Magna Carta: eleven covers, from Savoy Brown and the Doors to Jimi Hendrix, plus three originals.

Bananas finds Deep Purple working from blues-rooted riffs, Hammond organ and expansive vocals with the conversational ease of a seasoned band.

Deftones' fourth album, out on 20 May 2003. The self-titled record takes its trip hop and shoegaze leanings further than anything the band had done.

Accelerated Evolution combines walls of guitar, dense arrangement and soaring vocals to make heaviness and release coexist.

This Is Hell packs short, cutting guitar riffs, racing rhythm and harsh roars into a dense attack.

Dir En Grey's fourth album, released on 10 September 2003 and co-produced by the band with Tatsuya Sakamoto.

DragonForce's debut album, from 2003. It is a re-recording of a demo of the same name, cut when the band were still called DragonHeart.

Evilized puts thick riffs, forceful vocals and crowd-ready choruses at the front of a pure heavy-metal statement.

Train of Thought turns Dream Theater toward harder, darker progressive metal through low guitar, precise rhythm and technical keyboards.

Dreams for the Daring layers tearful guitar, smooth high vocals and poised rhythm to draw melodic hard rock with real melancholy.

Aphelion layers clear vocals, glittering keyboards and heavy guitar to balance elegance with strength.

The Phantom Agony layers heavy guitar, orchestra, choir and Simone Simons’s clear voice into a large-scale drama.

Fallen layers hard guitar, piano, strings and Amy Lee’s clear voice to make darkness and accessibility coexist.

Prime Time combines FireHouse’s clear high vocals, polished guitar and instantly graspable choruses with care.

Burning Earth joins thick riffs, fast rhythm and neoclassical lead guitar in heavy, aggressive power metal.

The Flag of Punishment combines neoclassical guitar, fast rhythm and soaring high vocals into vivid power metal.

Faceless puts physical weight at the front through thick guitar, low-stepping rhythm and rough vocals.

The Link builds distinctive pressure from low, rolling guitar, machine-like rhythm and heavy roars.

Human Zoo refines Gotthard’s hard-rock core through thick riffs, sticky groove and Steve Lee’s powerful voice.

No Regrets uses rough guitar, bouncing beat and spit-out vocals to make punk-leaning rock and roll.

Higher combines delicate melody, thick harmony and tight guitar riffing into refined hard rock.

The third album, twelve songs including "Live for This" — the record that carried the band's name furthest.

Rabbit Don’t Come Easy returns Helloween to the pleasure of fast riffs, bright melody and choruses made to be sung.

HIM's fourth album, from April 2003. Ville Valo has called it the record on which the band found their sound.

Dance of Death uses layered guitar harmony, driving bass and Bruce Dickinson’s theatrical voice to tell stories on a large scale.

Epica uses thick guitar, symphonic color and Roy Khan’s shadowed voice to tell a story on a large scale.

Take a Look in the Mirror uses low, rolling guitar, bouncing bass and Jonathan Davis’s pained voice to make direct, raw music.

Labyrinth combines fast guitar, bright keyboards and soaring vocals to put European power-metal lift at the front.

As the Palaces Burn builds high-pressure metal from low-chugging riffs, sharply changing rhythm and raw roars.

Last Autumn’s Dream layers smooth vocals, restrained guitar and shimmering keyboards into calm but powerful melodic rock.

Meteora compresses hard guitar, electronic beat and the contrast of rap and singing into short, dense songs.

Through the Ashes of Empires restores Machine Head’s low, rolling riffs, urgent vocals and muscular rhythm.

Music for Speeding joins Marty Friedman’s singing guitar melodies to changing rhythm and pop-minded hooks.

Masterplan combines heavy guitar, expansive keyboards and powerful vocals into refined European melodic metal.

St. Anger chooses urgent riffs, raw sound and anger-filled vocals over Metallica’s usual polish and architectural control.

A largely covers-based record made alongside the Hanoi Rocks reunion: thirteen songs taking in Eddie & The Hot Rods, X-Ray Spex and Leonard Cohen.

Arachnophobiac places Michael Schenker’s fluid lead guitar inside a sturdy hard-rock frame.

Ministry's eighth album, out on 18 February 2003, and for a long time the last one the bassist Paul Barker played on.

Regressus joins low guitar riffs, high-energy vocals and heroic choruses in a firm Mystic Prophecy statement.

Nasum's third album, issued by Relapse Records in 2003. The title is Swedish for "hell".

Nevermore's fifth album, from July 2003. The sound it was released with drew heavy criticism, and in 2005 Andy Sneap remixed and remastered the whole record.

The Long Road uses distorted guitar, heavy beat and Chad Kroeger’s rough voice to make direct rock with large-scale choruses.

Opeth's seventh album, from April 2003, the half of one set of sessions that carries neither distortion nor death growls.

Overkill's twelfth album, released in March 2003: Derek Tailer's arrival made them a five-piece again, and Colin Richardson produced and mixed it.

Gilbert Hotel lets Paul Gilbert fold his formidable guitar skill into short, welcoming songs rather than placing virtuosity above everything else.

The eighth Praying Mantis studio album, released by Pony Canyon on 19 March 2003 as PCCY-01636 — issued in Japan first, as this band's records had been through the 1990s. Ten songs.

The debut album by Pride of Lions, the band former Survivor man Jim Peterik formed with singer Toby Hitchcock. It was recorded at World Stage International Studios in Chicago, and Nexus released the Japanese edition on 22 October 2003 as KICP-963.

Tribe uses hard guitar, shifting rhythm and Geoff Tate’s expressive voice to create tense metal with progressive instincts.

Soundchaser builds tense power/thrash metal from cutting guitar, fast rhythm and heavy bass.

Eyewitness layers weighty keyboards, firm guitar and soaring vocals into a cinematic progressive-metal setting.

Sepultura's ninth studio album, from 2003. The title is an old English word for a forged story used in politics.

Leave a Whisper combines heavy guitar, steady rhythm and Brent Smith’s powerful, emotional voice into melody-driven American rock.

The band's return after a three-year gap, recorded at House of Music Studios in Winterbach. Primal Fear's Ralf Scheepers sings backing vocals on "Finalizer".

Thickskin pushes Skid Row toward a rougher, heavier strain of hard rock built on cutting riffs and low-slung groove.

Figure Number Five connects fast guitar, tight rhythm, harsh vocals and clean melody with real force.

Winterheart’s Guild combines fast-moving keyboards, sharp guitar and soaring vocals into power metal with wide emotional swings.

Elements Pt. 1 places fast guitar, ornate keyboards and soaring vocals inside broader orchestral arrangements.

Elements Pt. 2 keeps the first part’s scale but shifts the focus toward tighter riffs and more direct dramatic melody.

Swallow the Sun's debut album, issued by Firebox Records in 2003. This Finnish death-doom record was made in three weeks.

Cats and Dogs uses springing bass, crisp guitar and Jeff Scott Soto’s expressive voice to make tough but nimble hard rock.

Unhallowed drives forward with fast guitar riffs, urgent blasts and cutting vocals.

The Darkness's debut album, released in the United Kingdom on 7 July 2003. It topped the UK chart and has sold over 1.4 million copies there alone.

The Haunted's third album, released on 17 February 2003 and their last for Earache.

The Wildhearts Must Be Destroyed packs short, sharp guitar, restless rhythm and twisted melody into concise songs.

Jaded combines heavy guitar, cold programming and shadowed vocals to build a melancholic world.

Ember to Inferno uses fast guitar, rough vocals and shifting rhythm to make aggressive metal with obvious ambition.

Delirium Veil combines hard guitar, bright keyboards and light-footed vocals in colorful melodic metal.

A live album recorded in Carlisle, England and released by Angel Air Records in 2003. Its sixteen tracks set songs from the then-current Noises From the Cathouse beside the 1980s repertoire.

A studio album issued by Communique Records. The band's own discography dates it to 2003 and this page follows that; MusicBrainz says 2004. The edition on streaming services is the 2016 Angel Air reissue, which adds three bonus tracks.

Voivod's self-titled tenth studio album, from March 2003, with Snake back and Jason Newsted newly on bass.

Letter to God revisits XYZ’s glossy hard-rock instincts through more settled songwriting.

Behind Silence and Solitude is All That Remains’ debut, connecting rough riffs, growls and lyrical guitar leads.

Waking the Fury pushes Annihilator back toward thrash-metal tension with intricate, cutting riffs at the front.

Overload is Anthem's ninth studio album, released on 9 October 2002. It is the second record made after the band reformed, and its title track was re-recorded in English for Nucleus in 2019.

Arcturus's third album, from 2002. It turns towards a space-influenced sound, and it is the last record with Kristoffer Rygg singing.

Three combines heavy guitar riffs, dark melody and dramatic movement in Armageddon’s melodic-metal world.

Suicide Notes and Butterfly Kisses is an early Atreyu record built from rough screams, hardcore-rooted rhythm and emotional guitar melody.

The Metal Opera Part II brings together many guest singers, dense choirs and symphonic keyboards to tell an expansive story.

1919 Eternal joins Zakk Wylde’s enormous guitar riffs with Black Label Society’s bluesy, shadowed sense of melody.

Blind Guardian's seventh album, from 2002, named after the Queen record: the first produced by Charlie Bauerfeind, engineer of Nightfall in Middle-Earth.

Turning Back layers soaring vocals, bright keyboards and lyrical guitar with great order and polish.

Bounce brings Bon Jovi’s anthemic writing into a more modern guitar sound while carrying a direct message of resilience.

Corporate America brings Boston’s trademarks—layered guitars, huge harmonies and clear melodic lift—back to the foreground.

Cathedral's seventh album, released in October 2002 and their first after leaving Earache. Recorded with Kit Woolven, it is more melodic and varied.

The Gates of Oblivion layers classical guitar phrases, grand keyboards and story-driven melody into Dark Moor’s symphonic metal world.

Damage Done joins icy keyboard textures, sharp guitars and Mikael Stanne’s deep growls into one of Dark Tranquillity’s most focused statements.

X by DEF LEPPARD: track list, Spotify player and English liner notes on METAL BOOST.

Silent Night Fever condenses fast drums, razor-edged guitars and rough shouts into a relentless attack.

Dio's ninth album, released by Spitfire on 21 May 2002, was its only one with guitarist Doug Aldrich and reached number 199 on the Billboard 200.

Dir En Grey's third album, released on 30 January 2002, sixteen tracks running 69:57 and produced by the band.

Believe uses heavy repeating riffs, muscular groove and David Draiman’s tense vocal delivery to examine conviction and loss.

Long Way Home reunites Dokken’s strengths in melancholy melody, soaring choruses and precise guitar work.

Down's second album, issued by Elektra in March 2002. The subtitle comes from the lyrics of Led Zeppelin's "Stairway to Heaven".

DRAGONLAND's second album, released in 2002, and the second chapter of The Dragonland Chronicles saga. It was recorded and mixed at Studio Fredman in Gothenburg and issued by the Greek label Black Lotus Records.

Dragonslayer is Dream Evil’s debut statement of classic heavy-metal pleasure in a clean, modern sound.

Six Degrees of Inner Turbulence uses heavy riffs, complex meters, lyrical ballads and an extended suite to examine inner life from multiple angles.

Between Heaven and Hell is an early Firewind record driven by sharp riffs, fast drums and soaring vocals.

Forgotten Tomb's first album, issued by Selbstmord Services in 2002. All five pieces were recorded and produced by one man alone.

Eternity layers bright melody, fast rhythm and choruses made for singing along, delivering Freedom Call’s most openly uplifting power metal.

Twelve Shots on the Rocks reignites Hanoi Rocks’ mix of punk roughness, glam-rock flash and street-rock ease.

II brings Hardline back to melodic hard rock with powerful vocals, thick choruses and firm guitar work.

Weight of the World combines Harem Scarem’s detailed harmonies, restrained guitar work and emotional melodies.

The second album and the first through major distribution: sixteen tracks including "I Will Be Heard".

Reroute to Remain keeps In Flames’ melodic-death-metal core while introducing more modern rhythms, electronic texture and direct hooks.

Condition Red frames Iron Savior’s sturdy riffs, mechanical rhythms and thick choirs within a science-fiction concept.

Prism by JEFF SCOTT SOTO: track list, Spotify player and English liner notes on METAL BOOST.

The ninth album. Its title is also the name of his publishing company, and comes from a Jimi Hendrix lyric.

Alive or Just Breathing fuses thrash-like riffs, melodic-death-metal guitar language and rough shouts into Killswitch Engage’s defining early statement.

Untouchables layers low, rolling bass, heavy guitar and electronic texture with great precision, creating one of Korn’s biggest and darkest soundscapes.

The eighth L.A. Guns studio album, released by Spitfire Records in 2002 — the last studio record Tracii Guns played on before leaving. Ten songs.

Lacuna Coil's third album, released in September 2002, whose single "Heaven's a Lie" became their breakthrough in America.

Project Shangri-La centers on Lana Lane’s clear voice while layering progressive movement, symphonic keyboards and the accessibility of melodic rock.

Biosphere is the seventeenth Loudness album, released by Tokuma Japan Communications on 4 September 2002 — the third record by the reunited original line-up.

The debut album, released by Relapse Records in 2002 by the band formed in Atlanta in 2000.

Everblack fuses death-metal sharpness, power-metal drama and a vocal approach that moves between clean singing and growls.

A six-track EP released only in Japan: two new songs plus live versions of four earlier ones.

Hammered was released on 9 April 2002. An official video was made for "Brave New World", and Victor issued the Japanese pressing on 22 May that year as VICP-61874.

Century Child expands Nightwish’s symphonic reach by joining orchestral scale, heavy guitars and Tarja Turunen’s classically shaped voice.

Shadowland organizes Nocturnal Rites’ strong riffs, thick keyboards and soaring clean vocals into a highly polished record.

Opeth's sixth album, from November 2002. It was made in the same sessions as Damnation and is the heavy half of the pair.

Outrage's eighth album, out on 25 July 2002. It is the first full-length made as a trio and holds fourteen songs.

Paradise Lost's ninth album, released on 21 October 2002: their first for GUN / Supersonic Records, produced by Rhys Fulber.

Burning Organ is rooted in Paul Gilbert’s astonishing guitar ability, but it places the fun of the songs first.

Hollyweird pulls Poison back toward the energy of a real band, putting rawer guitar and catchy choruses ahead of excessive decoration.

The tenth album and the last of the Massacre years; months later the band's management collapsed and a long stall began.

Black Sun sharpens Primal Fear’s brand of power metal with cutting riffs, heavy rhythm work and soaring high vocals.

Queens of the Stone Age's third album, out on 27 August 2002. Dave Grohl plays the drums, and the record is loosely framed as a drive out of Los Angeles into the desert.

Unity combines Rage’s weighty riffs, detailed rhythm changes and memorable vocal melodies.

Power of the Dragonflame uses orchestral keyboards, choirs and fast guitars to build Rhapsody of Fire’s grand fantasy universe.

Through the Storm carries Riot’s traditional-metal spirit through sharp guitar riffs, driving rhythms and forceful vocals.

Rotten Sound's third album, from June 2002. Mieszko Talarczyk of Nasum produced it, and all fourteen songs carry one-word titles.

Rotting Christ's seventh album, from 2002. It returns to the speed and the raw vocals of their early black metal while keeping the gothic and doom elements of the middle records.

Vapor Trails marks Rush's return after a long silence, built from the raw drive of guitar, bass and drums with almost no synthesizers.

Not 4 Sale lets Sammy Hagar move easily among hard rock, blues, funk and Caribbean-flavored grooves.

The Cold White Light uses heavy guitars, sunken melodies and low, melancholic vocals to explore love, death and regret.

The Art of Balance brings together thrash metal’s cutting riffs, melodic leads and hardcore-derived force with impressive control.

Ritual uses dramatic keyboards, fast guitars and expressive high vocals to build Shaman’s expansive narrative.

Unfinished Business, Shy's comeback record, restates the appeal of British melodic hard rock with big choruses and melancholy vocal melodies.

Natural Born Chaos connects Soilwork’s sharp melodic-death-metal guitars with a tighter, more modern rhythmic feel.

Stone Sour’s debut combines heavy guitar riffs, alternative-rock atmosphere and vocals that leave emotion exposed.

The Odyssey combines neoclassical guitar, complex rhythm, weighty keyboards and powerful vocals at a high level of density.

System of a Down's third album, out on 26 November 2002: sixteen songs from the Toxicity era, finished by the band after unfinished versions leaked online.

The Crown's fifth album, from 2002. It is one of only two of their records sung by Tomas Lindberg of At the Gates.

The Hellacopters' fifth album, released in 2002. Its red, white and black cloud-and-lightning design became the band's trademark.

Through the Looking Glass is a covers album on which TOTO, a band of top session musicians, recasts songs it reveres in its own sound.

Man and Machine uses hard-edged riffs, straight-ahead beats and Udo Dirkschneider’s steel voice to frame a world of humans and machines.

UFO's sixteenth album, released in September 2002 and produced by Mike Varney and Steve Fontano, was Michael Schenker's last with the band.

Dying for the World uses heavy guitars and Blackie Lawless’s urgent voice to draw anger, grief and prayer into sharp relief.

Attack!! brings Yngwie Malmsteen’s baroque-shaped phrases, high-speed guitar runs and dramatic harmony into sharp focus.

Just Push Play brings digital textures and pop-minded hooks into Aerosmith’s blues-rooted framework.

Am Universum expands Amorphis beyond a heavy-guitar base with keyboards, saxophone and clean vocals.

Andrew W.K.'s debut album, issued by Island Records in November 2001. "Party Hard" and "She Is Beautiful" were taken from it as singles.

Rebirth presents Angra’s renewed lineup through Brazilian rhythmic color and grand power metal.

Carnival Diablos centers on Jeff Waters’s sharp riffs and technical guitar work while expanding thrash momentum through varied arrangements.

Seven Hills is Anthem's eighth studio album, released on 22 August 2001. It is the first record of the band's second era, restarted by Naoto Shibata nine years after the 1992 split on the condition that it be a band living in the present rather than a nostalgia act.

Wages of Sin by ARCH ENEMY: track list, Spotify player and English liner notes on METAL BOOST.

Aura refines the John Payne-era Asia sound through polished melodies and expansive keyboard textures.

The Metal Opera begins Tobias Sammet’s large-scale story with a cast of guest vocalists passing the narrative from voice to voice.

Sounding the Seventh Trumpet is Avenged Sevenfold’s debut, mixing hardcore urgency, melodic-death-metal guitar and classic-metal ambition.

Eyes of Darkness adds darker shades and stronger drama to Axxis’s clear melodic-hard-rock foundation.

Making Enemies Is Good brings Backyard Babies’ street-rock roughness and punk speed into sharp riff-led songs.

Beautiful Creatures is a debut that blends L.A. hard-rock flash with punk roughness.

BLINDMAN combines intricate guitar phrasing with lyrical melody in a polished Japanese melodic-hard-rock record.

Time Bomb retains Buckcherry’s raw rock-and-roll charge while aiming for tighter, more urban hooks.

Cathedral's sixth album, released in February 2001. Produced by Billy Anderson, it strips the band back to the dark, heavy doom of their early days.

Converge's fourth album, issued by Equal Vision on 4 September 2001. It is the first record with bassist Nate Newton and drummer Ben Koller.

Cockroach finally presents songs that had remained unreleased for years, organized around two different vocal versions.

Terria uses heavy guitar, but places atmosphere, silence and scale at the center of Devin Townsend’s writing.

DRAGONLAND's 2001 debut album and the opening chapter of the band's self-produced fantasy saga, The Dragonland Chronicles. Released by the Greek label Black Lotus Records and engineered by Andy LaRocque, it is symphonic power metal in the classic Swedish mould.

Here Comes the Flood is Dreamtide’s debut, built on flowing guitar lines and open, anthemic choruses.

The Truth and a Little More is Eclipse’s debut, combining strong hooks with hard, crisp guitar work.

Arcana is symphonic metal centered on Sabine Edelsbacher’s clear voice and Lanvall’s layered keyboard and guitar work.

Mandrake enlarges Edguy’s bright melodies and fast-moving rhythms without losing their playful energy.