Speed Metal 1990s Albums - Page 2

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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.

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.

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

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

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

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.

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.

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

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.

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

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

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

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

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

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

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.

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