Denmark Metal & Hard Rock Albums

After a decade away, Soundtrack for the End Times reunites MERCENARY’s melodic death metal, power metal and progressive metal instincts in one large return.

Continuing the dystopian story of its predecessor, Dystopia Part II deepens the setting through André Andersen’s layered keyboards and classically shaped arrangements.

Alter Echo develops Dizzy Mizz Lizzy’s alternative-rock edge into more detailed, narrative-minded structures.

Royal Hunt’s Dystopia is a concept work that uses detailed keyboard arrangements, thick guitar and several guest vocalists to dramatize an oppressive future vision.

A sixteenth studio album that turned out to be the last before Ronnie Atkins' illness was made public.

Cast in Stone gathers Royal Hunt’s symphonic keyboards, progressive movement and powerful choruses into a focused fourteenth album.

Forward in Reverse is Dizzy Mizz Lizzy’s studio return after a long gap, joining intricate guitar phrases, heavy riffs and melodic instinct at high density.

The fifteenth album, and the first with Chris Laney on keyboards and guitars.

Devil’s Dozen layers Royal Hunt’s grand keyboards, hard guitar riffs and dramatic vocals to explore a classical-metal world in depth.

Five new songs alongside seven re-recordings of material from 1999-2006 — the overlooked years, restated in the band's present sound.

Through Our Darkest Days combines Mercenary’s sharp melodic-death-metal riffing with power-metal-sized vocal melody.

The thirteenth album, which Ronnie Atkins called the band's best song for song.

A Life to Die For uses classical-leaning keyboards, layered choruses and dramatic vocals to build Royal Hunt’s grand progressive-metal world.

Metamorphosis layers Mercenary’s heavyweight guitar, melodic leads and clean-to-harsh vocal contrast to show the band’s strength amid change.

Show Me How to Live reunites Royal Hunt with D.C. Cooper, reconnecting André Andersen’s grand keyboards, melodic guitar and dramatic vocals.

A twelfth album after four years, led by "Little Drops of Heaven," that put the band back on a steady release cycle.

X shows Royal Hunt’s symphonic and progressive metal strengths through dramatic keyboards, hard guitar and shadowed melody.

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

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

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

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

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

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

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

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

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

The Mission is a concept-driven Royal Hunt record that tells its story through thick keyboards and metal riffs.

A ninth album of twelve songs from the Massacre years, one of which the band later re-recorded and kept.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The second album, recorded at Bearsville Studios in New York with three producers split by the character of each song.

The first full album after signing to CBS, opening on a passage from Carmina Burana.