1999 Metal & Hard Rock Albums

Lacuna Coil's first full-length album, recorded with Waldemar Sorychta in Germany in late 1998 and released by Century Media in February 1999.

Great White's ninth studio album, produced by Jack Blades, came out in Japan in May 1999 and then on Portrait in the US.

Cathedral's fifth album, released in January 1999 and produced by Andy Sneap, with songs drawn from a Hammer horror film and The Omega Man.

Overkill's covers album, from October 1999: it opens with Motörhead's "Overkill", from the album the band is named after, and runs from punk to hard rock.

Overkill's tenth album, released in February 1999 and recorded at the Carriage House in Stamford late in 1998, produced by the band with Andy Katz.

Paradise Lost's seventh album, released by EMI Electrola on 24 May 1999, with electronics ahead of the guitars: their most adventurous work yet, as the band said then.

Kreator's ninth studio album, from 1999 and the furthest they went towards gothic metal.

Opeth's fourth album, from October 1999, and the first with the bass player Martin Mendez.

HIM's second album, published in Finland in December 1999 and internationally in January 2000. "Join Me in Death" is the single that carried the band up.

The Hellacopters' third album, released on 17 May 1999 and the first of theirs to reach the Swedish top ten.

Dir En Grey's debut album, released on 28 July 1999, thirteen tracks running 64:47.

Saxon's fourteenth album, released in 1999. It is the first with Fritz Randow on drums, though the opening Intro is Nigel Glockler's.

The sixth album, with tributes to Frank Zappa and Stevie Ray Vaughan, and a guest turn from B'z.

Ministry's seventh album, out on 8 June 1999. It is the last record they made for Warner Bros.

Neurosis's sixth album, released in 1999. It is the first they made with Steve Albini, and a reference point for what is called post-metal.

The Dillinger Escape Plan's debut, issued by Relapse on 28 September 1999. It is the record that settled what mathcore means.

Immortal's fifth album, issued by Osmose Productions in 1999. It fuses black metal with thrash, and it is the turn in their course.

Nevermore's third album, issued by Century Media in 1999. It is a concept record following one man's slide out of his mind.

Nine Inch Nails' third album, issued by Nothing and Interscope in 1999. Twenty-three pieces across two CDs, a good many of them instrumental.

Katatonia's fourth album, issued by Peaceville in 1999. It moves away from metal towards alternative rock, and it is the turn in their course.

The sixth L.A. Guns studio album, released in 1999 and the only one with Jizzy Pearl on vocals. The Japanese edition appeared on 24 July 1999 as ZACB-1008. Twelve songs.

Engine is the fourteenth Loudness album, released by Rooms Records on 7 July 1999. It was the third and last studio record by the line-up of Takasaki, Yamada, Shibata and Homma.

The fourth solo album, with Monroe playing almost every instrument himself; Andy McCoy shares a writing credit and Hanoi Rocks' "Self Destruction Blues" is revisited.

The studio album that followed Everything Louder. The band's own album gallery files it under 2000.

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

Tuonela keeps Amorphis’s heavy guitar foundation while giving greater weight to quiet keyboards, folk-tinged melody and a submerged atmosphere.

Criteria for a Black Widow shapes high-tension thrash metal from slicing riffs, sudden turns and intricate guitar work.

Burning Bridges links weighty riffs, fast cutting lead guitar and harsh vocals in Arch Enemy’s aggressive melodic-death approach.

Sonic Brew establishes Black Label Society through weighty riffs, earthy blues feeling and rough vocal delivery.

Being Human builds melody-centered hard rock from clear vocals, lyrical keyboards and finely detailed guitar.

Buckcherry arrives with bluesy guitar riffs, gritty vocals and a dangerous rock-and-roll rush.

Burning Rain’s debut combines thick guitar riffs, blues-rooted lead work and soulful vocals.

Hatebreeder fuses cutting guitar riffs, rapid drumming and flamboyantly active keyboards into Children of Bodom’s distinctive attack.

Road of Desire combines thick guitar riffs, forceful rhythm and melancholy-tinged melody in Damned Nation’s melodic hard rock.

Shadowland is Dark Moor’s debut, combining classical keyboards, fast guitar and story-minded melody.

Projector expands Dark Tranquillity’s melodic-death language with clean vocals, piano and a pronounced gothic shade.

Euphoria brings Def Leppard’s signature strengths back to the foreground: stacked harmonies, polished guitar work and hooks built for instant lift.

Erase the Slate organizes sharp guitar work, firm rhythm and melancholy-tinged vocals into a return to classic melodic metal.

Metropolis Pt. 2: Scenes from a Memory joins complex rhythm, fluent soloing and memorable vocal melody into a single narrative arc.

Theater of Salvation combines the drive of fast metal with dramatic development, keyboard color and large choral hooks.

Stairway to Fairyland is Freedom Call’s bright, fantasy-tinged power-metal debut, built from soaring melody, brisk rhythm and sparkling keyboards.

Power Plant gathers fast twin guitars, clear high vocals and expansive choruses into a quintessential Gamma Ray power-metal record.

Open combines thick guitar riffs and songful melody in Gotthard’s broad, arena-ready hard-rock style.

Rubber finds Harem Scarem loosening its established melodic-hard-rock shape and bringing in tighter beats and more alternative-leaning textures.

Metal Jukebox is a covers album on which the Deris-era HELLOWEEN reworks songs from hard rock, progressive rock and pop that shaped the band.

Colony weaves chiseled riffs, rapid drums and memorable twin-guitar melody into a high-density In Flames record.

Unification builds steel-plated power metal from mechanical riffing, heavy rhythm and heroic vocal melody.

The Fourth Legacy gathers heavy riffs, flowing keyboards and narrative-minded melody into a grand Kamelot power-metal statement.

Issues layers low, unsettling guitar, bouncing bass and nervous rhythm to make Korn’s themes of isolation and anger feel especially close.

Burn the Priest is a useful way to hear LAMB OF GOD from a different angle within the 1999 catalogue.

Queen of the Ocean paints a fantasy-tinged rock world with expansive keyboards, dramatic guitar and Lana Lane’s clear vocal presence.

Fields of Yesterday highlights Lillian Axe’s shaded melodies and carefully shaped guitar arrangements.

The Burning Red retains Machine Head’s heavy riff foundation while bringing in bouncier rhythm, more dynamic vocals and modern production.

Risk deliberately pulls back from Megadeth’s usual thrash attack and moves toward smoother melody, mid-tempo groove and more pop-shaped arrangements.

Masterpeace attacks with heavy guitar riffs, hard-edged drums and urgent vocals, reaffirming Metal Church’s traditional heavy-metal force.

The Unforgiven builds on Michael Schenker Group’s melodic hard-rock strengths: sharp riffs, singing lead guitar and songs shaped around real emotional movement.

Angelfire combines smooth vocal melody, shimmering keyboards and polished guitar in Millenium’s melodic-rock approach.

The Sacred Talisman combines fast rhythm, bright guitar melody and clear, soaring choruses in Nocturnal Rites’ power-metal mode.

Jaws of Death brings together thick guitar chug, forceful drums and piercing high vocals in Primal Fear’s heavy traditional-metal attack.

Q2K reduces some of Queensrÿche’s more elaborate progressive machinery and presents vocals and riffs in a more direct rock form.

Alive and Well puts Quiet Riot’s upbeat rock-and-roll spirit and big singable choruses back in front.

Ghosts draws Rage slightly away from its usual sharp metal attack and gives more attention to acoustic resonance and quieter melody.

The Battle of Los Angeles unites bouncing bass, hard drums, unorthodox guitar sounds and sharply delivered words in Rage Against the Machine’s tense political rock.

Ratt centers on dry, sharp guitar riffs, spring-loaded rhythm and a vocal presence with a little danger in it.

Sons of Society brings together driving rhythm, sharp twin guitars and rising vocal melody in Riot’s power-metal mode.

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

Red Voodoo is a useful way to hear SAMMY HAGAR from a different angle within the 1999 catalogue.

Eye II Eye finds Scorpions expanding beyond their familiar hard-rock frame with programming, pop texture and a more contemporary compactness.

Regeneration is centered on unreleased material and offers another chance to hear Shy’s soaring choruses, lyrical vocal melodies and polished guitar work.

Back to Reality retains Slaughter’s catchy melodies and smooth choruses while moving into a more settled rock texture.

Slipknot’s debut collides heavy riffs, accelerating drums, layered percussion and screaming vocals into an overwhelming whole.

Ecliptica announces Sonata Arctica with rapid rhythm, sparkling keyboards and high, urgent vocals.

The Gathering pushes Testament into a particularly aggressive space, layering sharp thrash riffs with a low, heavy sound.

Transistor places electronic texture and tight beats alongside TNT’s melodic hard-rock foundation.

All Eternity introduces To/Die/For through heavy guitars, shadowed keyboards and low, emotional vocals.

Mindfields uses Toto’s considerable musicianship in service of atmosphere rather than display.

Holy puts U.D.O.’s core elements directly up front: heavy riffs, a marching beat and a distinctive, powerful vocal.

Helldorado drives forward with thick guitar riffs, heavy beats and Blackie Lawless’s theatrical vocal presence.

Alchemy concentrates Yngwie Malmsteen’s neoclassical language into a dense mix of baroque-minded harmony, rapid scale work and dramatic riffs.