1995 Metal & Hard Rock Albums

UFO's fourteenth album, out first in Japan on 15 April 1995, reunited Phil Mogg and Pete Way with Michael Schenker, Paul Raymond and Andy Parker.

Queen's fifteenth album, from November 1995: the last studio album, completed over four years by the other three around vocals Freddie Mercury left.

Cathedral's third album, released in September 1995: the first with Leo Smee and Brian Dixon, with Tony Iommi playing guitar on "Utopian Blaster".

Savatage's ninth album, released in September 1995: a rock opera set in wartime Sarajevo, whose "Christmas Eve (Sarajevo 12/24)" caught on with American radio.

Blind Guardian's fifth album, released in April 1995 and produced by Flemming Rasmussen: the last on which Hansi Kürsch also played bass.

Voivod's eighth studio album, from November 1995, the first after Snake left for a time, sung by bassist Eric Forrest.

Kreator's seventh studio album, from 1995, their first for GUN Records and the only one with a different drummer.

Nevermore's debut, from February 1995. It is the first record of the band Warrel Dane and Jim Sheppard started after Sanctuary broke up, and two different drummers play half of it each.

Rammstein's debut album, released in September 1995 on Motor Music by the six players who have been the band ever since.

Saxon's twelfth album, from September 1995 and the last to feature Graham Oliver. It falls in a period of change in both the sound and the line-up.

The sixth album, self-titled: a looser, blues-leaning record produced by Glyn Johns.

An EP written and recorded in under six weeks, stripped back to guitar, bass and drums.

Outrage's sixth album, out on 25 May 1995. Megalomania, which opens it, is still played live today.

Meshuggah's second album, issued by Nuclear Blast in 1995. Its odd metres and stuttering riffs opened the way to mathcore and djent.

At the Gates' fourth album, released on 14 November 1995: the last before their 1996 split, and a model for Gothenburg metal and for metalcore.

Paradise Lost's fifth album, issued by Music for Nations in 1995. It binds the shade of gothic rock to the weight of heavy metal in one thing.

Opeth's debut, issued by Candlelight on 15 May 1995. The band never made a demo; a rehearsal tape alone got them the contract.

Death's sixth album, issued by Roadrunner on 21 March 1995. It keeps the technique and steps a long way towards melody, and it is where the band arrives.

Fear Factory's second album, issued by Roadrunner in 1995. It is built on machine-like repetition and on a voice that moves between roaring and clean singing.

Down's debut, issued by EastWest in 1995. The title abbreviates New Orleans, Louisiana, and the record keeps the damp of the American South inside it.

Dissection's second album, issued by Nuclear Blast on 17 November 1995. It is one of the earliest successful joins of black metal with the melody of Gothenburg.

Moonspell's debut, issued by Century Media in 1995. It brings the Portuguese language and the myths of its own country into gothic metal.

Vader's second album, issued by Croon Records in 1995. It was taped at Modern Sound Studio in Gdynia and stands for Polish death metal.

Suffocation's third album, issued by Roadrunner in 1995. It recovers from a badly received predecessor and became the yardstick for its style.

The fifth Praying Mantis studio album, released by Pony Canyon on 19 August 1995 as PCCY-00794. Eleven songs.

Sacrifice, released on 27 March 1995, began the band's long association with SPV / Steamhammer of Germany and is the last album to feature Würzel, who had played guitar since 1984.

The eight soundtrack and tribute tracks Megadeth never put on a studio album, gathered onto one 1995 Capitol EP.

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

A mid-1990s record for No Bull Records; Zero Corporation issued the Japanese edition.

Ballbreaker builds on the restored steadiness of Phil Rudd’s drumming, giving Angus and Malcolm Young’s riffs a dry, heavy frame.

Stomp 442 keeps Anthrax’s thrash energy but shifts the emphasis toward lower-slung riffs and heavier groove.

Matters of Survival presents Axxis’ big choruses and sharp guitar work in a more polished frame.

Revolution uses clear keyboards, layered choruses and smooth guitar to deliver Bad Habit’s Nordic melodic-rock strengths with directness.

Forbidden centers on Tony Iommi’s heavy riffs while bringing together the melodic side of the Tony Martin era and a harder mid-1990s edge.

These Days keeps Bon Jovi’s arena-scale reach while stepping into more reflective, grounded writing.

Dawn introduces Paul Laine and moves Danger Danger toward darker guitar color and a more reflective mood.

The Gallery precisely joins Dark Tranquillity’s raw death-metal texture to guitars rich in melancholy and melodic contour.

Dysfunctional reunites Don Dokken, George Lynch, Jeff Pilson and Mick Brown, bringing Dokken’s tense melodic metal back with a more contemporary weight.

Waiting for the Punchline moves Extreme away from its brighter funk-metal identity and toward thick riffs, rougher textures and a more tense atmosphere.

Rainmaker deepens Fair Warning’s clear melodies and lyricism through more settled, patient performances.

3 refines FireHouse’s sturdy hard-rock feel around C.J. Snare’s high-reaching vocal and blues-based guitar work.

Dead Man’s Shoes places FM’s smooth harmonies and Steve Overland’s warm vocal at the center of restrained, blues-tinged hard rock.

Land of the Free puts Kai Hansen’s own lead vocal at the front and restores Gamma Ray’s sense of speed-metal uplift with real force.

Voice of Reason expands Harem Scarem’s beautiful choruses and detailed playing into darker, more complex territory.

The X Factor opens a new Iron Maiden chapter with Blaze Bayley, pursuing darker air, heavier weight and longer song structures than before.

Love Parade is a useful way to hear JEFF SCOTT SOTO from a different angle within the 1995 catalogue.

Out of My Tree captures John Sykes’ cutting guitar and soulful vocal with a near-live sense of band chemistry.

Eternity finds Kamelot’s debut-era sound in the meeting point of heavy guitar and neoclassical melody.

Love Is an Illusion centers Lana Lane’s clear vocal within thick keyboard layers and progressive song development.

Feeding off the Mojo retains Night Ranger’s large choruses and guitar-led momentum while moving toward a drier, more mid-1990s sound.

In a Time of Blood and Fire is Nocturnal Rites’ debut, joining sharp riffs, speed and a distinctly Scandinavian melancholy.

Ozzmosis pairs Zakk Wylde’s thick guitar work with Ozzy Osbourne’s unmistakably uneasy, vulnerable voice.

Change introduces David Readman and gives Pink Cream 69 a heavier guitar frame with more mid-1990s shadow.

Down to the Bone moves Quiet Riot a little away from its flashy 1980s image and toward bluesy riffs and rougher groove.

Black in Mind uses Rage’s heavy riffs and intelligent shifts to create a dark, unsettling world.

Stranger in Us All revives Rainbow through Ritchie Blackmore’s hard-edged riffs and folk-tinged melodic instincts.

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

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

Amok retains Sentenced’s death-metal aggression while drawing strongly on cold melody and gothic shadow.

Subhuman Race strips away much of Skid Row’s earlier glam-metal shine in favor of thick riffs, low-slung groove and vocal frustration.

Fear No Evil keeps Slaughter’s high-reaching vocal and catchy choruses while adding heavier guitar weight and more shadow to the songs.

Fourth Dimension introduces Timo Kotipelto and gives Stratovarius’ fast rhythms, flowing keyboards and high-reaching vocal a clear new shape.

The Damnation Game gains the powerful vocal of Russell Allen and brings Symphony X’s neoclassical guitar, heavy riffs and progressive construction into sharper focus.

Life unifies Talisman’s thick bass, elastic rhythm and Jeff Scott Soto’s powerful vocal into a single force.

P.H.U.Q. throws together noisy guitars, punk speed and unexpectedly sweet melody with typical Wildhearts force.

Tambu keeps Toto’s precise ensemble work but shifts its center of gravity toward lower, heavier rhythms and muted color.

Balance keeps Van Halen’s sense of lift while moving into a heavier, more reflective atmosphere.

Still Not Black Enough frames Blackie Lawless’ anger and isolation through the large riffs and theatrical vocal character associated with W.A.S.P.

Ultraphobic keeps Warrant’s melodic strength but turns toward rougher, heavier guitar tones.

Musically Incorrect strips Y&T back to straight-ahead hard rock centered on Dave Meniketti’s voice and guitar.

Magnum Opus gathers Yngwie Malmsteen’s baroque-minded melodies, fast rhythms and spark-throwing guitar into a large-scale design.