Heavy Metal 1990s Albums - Page 3

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.

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

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.

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.

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

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

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

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.

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.

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.

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

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.

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.

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

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.

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.

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

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

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.

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.

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.

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.

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

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

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.

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

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.

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

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.

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.

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.

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

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

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

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

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.