Death Metal Albums - Page 2

L'Enfant Sauvage uses low, rolling riffs, precise rhythm and guitar textures with an unusual sense of space to create metal that is both massive and reflective.

Khaos Legions is built around the Amott brothers’ sharp twin guitars, Angela Gossow’s ferocious vocals and heavy, precise rhythm.

Opeth's tenth album, from September 2011, made without a single death growl and turned towards the progressive rock of the 1970s.

The eighth Septicflesh album, from April 2011, recorded with the Prague Philharmonic Orchestra.

Sepultura's twelfth studio album, from June 2011, their first for Nuclear Blast, and a record about time.

Ritual layers The Black Dahlia Murder’s cutting riffs, icy melodies and feral vocals into extreme metal with high tension.

We Are the Void layers Dark Tranquillity’s cold-toned guitar melodies, precise rhythm and harsh vocals to create a beauty shaped by shadow.

Nails' debut album, from 2010: ten songs in under fourteen minutes, grindcore pulled toward powerviolence.

The debut album by Triptykon, the band Thomas Gabriel Fischer formed after Celtic Frost. Released in March 2010.

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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