1993 Metal & Hard Rock Albums

Dio's sixth studio album, released in Europe in October 1993 after Ronnie James Dio's Black Sabbath reunion on Dehumanizer, with Tracy G on guitar.

At the Gates' second album, from 1993: made at Sunlight Studios with Tomas Skogsberg, the last with founding guitarist and songwriter Alf Svensson.

Savatage's seventh album, released in April 1993: the first with singer Zak Stevens, and the last album Criss Oliva lived to complete.

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

Paradise Lost's fourth album, released in September 1993: the record that made their name in gothic metal, and the last with Matthew Archer on drums.

Voivod's seventh studio album, from 1993, with the seventeen-minute "Jack Luminous" and a Pink Floyd cover.

The fifth album is a double: new and unreleased studio tracks on disc one, 1988 and 1992 live recordings on disc two.

The third album, issued under the band name Vai and the first major record to feature Devin Townsend's singing.

Outrage's fifth album, out on 25 September 1993, from the point at which they began taking in elements from well outside thrash metal.

Sepultura's fifth album, released in 1993. It was made with Andy Wallace at Rockfield Studios in South Wales, and it is the record on which they step into groove metal.

Cathedral's second album, released in May 1993: the crawl of the debut gives way to Seventies hard-rock swing, and Columbia issued it in America.

Tool's first full-length album, released on 6 April 1993 and made with Sylvia Massy, the only one with original bassist Paul D'Amour.

Dissection's debut, issued by No Fashion Records on 3 December 1993. It is the record on which melodic black metal was founded.

Carcass's fourth album, issued by Earache in 1993. It was recorded at Parr Street Studios in Liverpool, and it is the reference point for melodic death metal.

Darkthrone's third album, issued by Peaceville on 15 February 1993. It was written with the stated intent of making a pure black metal record.

Death's fifth album, out on 22 June 1993. Gene Hoglan and Andy LaRocque play on it, and it pushes the technical bent of the previous record further still.

Entombed's third album, issued by Earache in 1993. It puts the drive of hard rock into death metal and creates what came to be called death 'n' roll.

Type O Negative's third album, issued by Roadrunner in 1993. It was the first record on that label to be certified gold by the RIAA.

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.

Cynic's debut, issued by Roadrunner on 14 September 1993. It brings fusion playing and a vocoder into death metal.

The fourth Praying Mantis studio album, released by Pony Canyon on 21 May 1993 as PCCY-00422, with Mark Thompson-Smith singing and former Iron Maiden guitarist Dennis Stratton in the band. Eleven songs.

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

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

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

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

Get a Grip finds AEROSMITH in a phase that joins the band’s blues-rooted roughness to a huge pop scale through heavier riffs and sharply defined vocal hooks.

Angels Cry captures ANGRA at a point where the later image is not yet fully fixed.

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.

Sound of White Noise finds ANTHRAX in a phase that marks a transition for Anthrax, bringing heavier groove and darker vocal character into a thrash-built frame.

The Big Thrill finds AXXIS in a phase that polishes the uplifting drive of German melodic hard rock by combining open melodies with hard-edged guitar work.

Skydancer finds DARK TRANQUILLITY in a phase that broadens early melodic death metal by setting layered melody and a dreamlike atmosphere against raw death-metal drive.

The Battle Rages On... finds DEEP PURPLE in a phase that puts Deep Purple’s heavy hard-rock riffing and tense ensemble work back in sharp focus.

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.

The Spaghetti Incident? finds GUNS N' ROSES in a phase that reconnects Guns N’ Roses with the raw impulses of punk, glam and garage rock through a wide-ranging cover set.

Mood Swings finds HAREM SCAREM in a phase that joins sophisticated arrangement, shadowed harmony and powerful singing to present a mature statement of melodic hard rock.

Desire Walks On finds HEART in a phase that moves Heart into a harder early-1990s rock frame by combining tactile guitar weight with dramatic vocal presence.

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

Nothin' but Trouble is a useful way to hear JOHN SYKES from a different angle within the 1993 catalogue.

On Psychoschizophrenia, LILLIAN AXE keeps its melodic hard-rock instinct but steps into heavy guitars, darker textures and more complex emotion.

Hanging in the Balance, METAL CHURCH's fifth album, keeps the weight of traditional metal and builds drama on Mike Howe's powerful vocals.

Bump Ahead finds MR. BIG in a phase that places Mr. Big’s exceptional musicianship beneath a softer melodic instinct and varied early-1990s arrangement.

Games People Play finds PINK CREAM 69 in a phase that combines Pink Cream 69’s large melodic-hard-rock hooks with heavier guitar and more shadowed songwriting.

Native Tongue finds POISON in a phase that adds blues, funk and soul texture to Poison’s familiar glossy hooks, showing a broader musical side.

Terrified finds QUIET RIOT in a phase that keeps Quiet Riot’s direct hard-rock momentum while leaning toward harder 1990s guitar tone and darker melody.

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.

Counterparts finds RUSH in a phase that keeps Rush’s advanced musicianship while shifting emphasis toward drier guitar, thicker rhythm and more direct song delivery.

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.

North from Here is a useful way to hear SENTENCED from a different angle within the 1993 catalogue.

Genesis finds TALISMAN in a phase that naturally joins Talisman’s technical rhythmic feel, bluesy guitar and expansive singing into a polished hard-rock statement.

Earth vs The Wildhearts captures THE WILDHEARTS at a point where the later image is not yet fully fixed.

Pull finds WINGER in a phase that keeps Winger’s melodic-hard-rock skill and song sense while moving into heavier guitar, intricate rhythm and a more inward atmosphere.