United States Metal & Hard Rock Albums of the 2010s - Page 4

Soundgarden's sixth album, out on 13 November 2012: their first studio album in sixteen years, and a number-five debut on the Billboard 200.

The eighth album and the second instalment of the Real Illusions trilogy, out on 14 August 2012.

House of Gold & Bones – Part 1 opens STONE SOUR's two-part concept work, telling a story by Corey Taylor through heavy riffs and melodic songs.

Emotional Fire centers Joe Lynn Turner’s seasoned vocals within polished keyboards, melodic guitars and high-quality choruses.

Dark Roots of Earth joins Testament’s sharp thrash riffs, heavy groove and aggressive vocals into thrash metal with modern thickness.

The Faceless's third album, released by Sumerian Records in August 2012 and opening with a three-part suite.

The third album by Miami's Torche, from 2012: thirteen songs in under forty minutes, heaviness and bright melody in the same place.

New Audio Machine is Trixter’s return to straightforward American hard rock, driven by bright choruses, lively guitar and easy-rolling rhythm.

A Different Kind of Truth reunites Van Halen with David Lee Roth and brings the band’s thick riffs, bouncing rhythm and unruly vocal personality back to the front.

Worship Music brings together Anthrax’s cutting thrash riffs, bouncing groove and commanding choruses to balance tradition with a modern punch.

Hell Yeah! puts Black ’n Blue’s catchy choruses, thick guitar riffs and good-time rock-and-roll spirit up front.

Chickenfoot III brings Sammy Hagar, Joe Satriani, Michael Anthony and Chad Smith together around thick riffs and a free-breathing sense of performance.

Deafheaven's debut, released by Deathwish Inc. in April 2011: four songs, recorded in four days.

A Dramatic Turn of Events is a turning-point album for Dream Theater, introducing Mike Mangini through intricate meters, precise ensemble work and large-scale melody.

Evanescence’s self-titled album layers heavy guitar, electronic texture, Amy Lee’s striking voice and piano to update the band’s dark appeal for a new moment.

Full Circle revisits FireHouse songs through new performances, bringing the band’s bright melodies, soaring vocals and lively guitar back into focus.

American Capitalist uses low chugging riffs, heavyweight beats and forceful vocals to push Five Finger Death Punch’s direct modern-metal impact.

Eclipse brings Neal Schon’s guitar further forward, supporting Journey’s arena-rock melodies with a tougher riff foundation.

The Path of Totality pairs Korn with dubstep and EDM producers, placing the band’s heavy riffs directly against the impact of electronic sound.

Unto the Locust expands Machine Head’s groove-metal weight through low growling riffs, complex rhythm and long-form drama.

Tokyo Jukebox 2 continues MARTY FRIEDMAN's cover project, widening the selection of Japanese pop and anime classics played on his singing guitar.

The fifth studio album, which reached number 10 on the Billboard 200. "Curl of the Burl" was nominated for Best Hard Rock/Metal Performance at the 54th Grammy Awards.

Thirteen combines Megadeth’s slicing riffs, restless rhythm and Dave Mustaine’s dry, sardonic vocal character.

What If... lets the reunited Mr. Big members play to each other’s strengths across catchy rock songs and emotional ballads.

Somewhere in California reaffirms Night Ranger’s American hard-rock identity through bright choruses, lively twin guitars and colorful keyboards.

Dedicated to Chaos uses dark sound, irregular rhythm and electronic texture to move Queensrÿche somewhat away from a conventional metal template.

Immortal Soul combines Riot’s sharp twin guitars, speedy rhythm and powerful high-register singing to renew the heat of traditional US metal.

Balls Out delivers Steel Panther’s oversized eighties glam-metal riffs, flashy solos and giant choruses with full commitment to humor.

A 2011 album given over to songs by other artists.

Iconoclast joins Symphony X’s low, heavy guitar riffs, complex rhythm and Russell Allen’s powerful vocals to push the heavier side of progressive metal.

Twisted Wires & the Acoustic Sessions... is a reconstruction-type work on which TESLA re-illuminated past songs with present-day playing and production…

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

In Waves crosses Trivium’s sharp thrash riffs, breakdown weight and melodic choruses to display the band’s range.

Rockaholic is built around Warrant’s catchy choruses, easy-moving riffs and positive rock-and-roll feel.

For We Are Many combines All That Remains’ cutting riffs, heavy breakdowns and singable choruses in tightly built metalcore.

Nightmare connects Avenged Sevenfold’s sharp metal riffs, dramatic lead guitar and darker melody.

Order of the Black puts Zakk Wylde’s thick guitar riffs, heavy groove and bluesy song sense at the front in classic Black Label Society fashion.

All Night Long delivers Buckcherry’s thick riffs, rough-edged vocals and no-frills rock and roll directly.

Relentless Retribution packs Death Angel’s Bay Area thrash sharpness, shifting rhythm and urgent vocals into an ambitious record.

Asylum builds dark hard rock from Disturbed’s low, heavy groove, tense riffs and commanding vocals.

Exhibit B: The Human Condition is an expansive blast of Exodus’ unforgiving thrash riffs, sharp drumming and socially tense atmosphere.

Fear Factory's seventh studio album, out in February 2010. Dino Cazares is back after nine years and Gene Hoglan plays the drums.

Promise Land reaffirms Giant’s melodic-rock strengths with rich choruses, refined guitar and a sense for emotional balladry.

The Oracle pushes Godsmack’s aggressive hard rock through low, rolling riffs, heavy drums and tense vocals.

Red Velvet Car shows Heart’s mature rock character through deep vocals, weighty guitar and measured arrangements.

The thirteenth album, out on 5 October 2010; the Japanese edition adds Heartbeats and Longing.

Poetry for the Poisoned layers Kamelot’s shadowed melodies, symphonic breadth and dramatic choruses into a dark, theatrical world.

Korn III: Remember Who You Are revisits Korn’s earlier rawness through rough riffs, bouncing bass presence and urgent vocals.

A Thousand Suns, Linkin Park's fourth album, moves into a concept-driven world of electronics and interludes built around nuclear war and social crisis.

Bad D.N.A. layers Marty Friedman’s exotic-tinged melodies, sharp guitar phrases and arrangements that cross rock and metal.

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

Nevermore's seventh album, from May 2010. It is the last studio record Warrel Dane sang on, and the one that stands immediately before the long hiatus that began the following year.

Overkill's fifteenth album, from January 2010: the first under their Nuclear Blast deal, mixed by Peter Tägtgren, and on the Billboard 200 after 17 years.

Fuzz Universe lets Paul Gilbert move freely between rock, fusion, metal and pop-minded ideas in an instrumental showcase of guitar expression.

Periphery's debut, released by Sumerian Records in April 2010 and the record that set the terms for djent-side progressive metal.

Infestation revisits Ratt’s L.A. hard-rock appeal through catchy riffs, loose-but-satisfying groove and husky vocals.

Slash pairs Slash with a wide range of guest vocalists, moving from bluesy riff rock to arena-sized hard rock.

Audio Secrecy combines Stone Sour’s heavy guitar with melancholic melody and a sensitive ballad instinct.

Facemelter delivers classic hard rock through Y&T’s bluesy guitar, sturdy rhythm and direct vocals.