2003 Metal & Hard Rock Albums

David Lee Roth's album of 8 July 2003 on Magna Carta: eleven covers, from Savoy Brown and the Doors to Jimi Hendrix, plus three originals.

Overkill's twelfth album, released in March 2003: Derek Tailer's arrival made them a five-piece again, and Colin Richardson produced and mixed it.

Voivod's self-titled tenth studio album, from March 2003, with Snake back and Jason Newsted newly on bass.

Sepultura's ninth studio album, from 2003. The title is an old English word for a forged story used in politics.

Cradle of Filth's fifth studio album, from March 2003: their only record for a major label, drawn from Milton's Paradise Lost.

Opeth's seventh album, from April 2003, the half of one set of sessions that carries neither distortion nor death growls.

Nevermore's fifth album, from July 2003. The sound it was released with drew heavy criticism, and in 2005 Andy Sneap remixed and remastered the whole record.

The Haunted's third album, released on 17 February 2003 and their last for Earache.

Dir En Grey's fourth album, released on 10 September 2003 and co-produced by the band with Tatsuya Sakamoto.

Ministry's eighth album, out on 18 February 2003, and for a long time the last one the bassist Paul Barker played on.

Cave In's third album, from 2003. It was their only record for RCA, and it trades most of the metal for spacious progressive rock.

The Darkness's debut album, released in the United Kingdom on 7 July 2003. It topped the UK chart and has sold over 1.4 million copies there alone.

Deftones' fourth album, out on 20 May 2003. The self-titled record takes its trip hop and shoegaze leanings further than anything the band had done.

DragonForce's debut album, from 2003. It is a re-recording of a demo of the same name, cut when the band were still called DragonHeart.

Coheed and Cambria's second album, issued by Equal Vision on 7 October 2003. It is the second instalment of the Amory Wars tetralogy.

Swallow the Sun's debut album, issued by Firebox Records in 2003. This Finnish death-doom record was made in three weeks.

HIM's fourth album, from April 2003. Ville Valo has called it the record on which the band found their sound.

Nasum's third album, issued by Relapse Records in 2003. The title is Swedish for "hell".

Anathema's seventh album, released in the United Kingdom on 3 November 2003. It is the first record after the return of their original bassist Jamie Cavanagh.

The eighth Praying Mantis studio album, released by Pony Canyon on 19 March 2003 as PCCY-01636 — issued in Japan first, as this band's records had been through the 1990s. Ten songs.

The debut album by Pride of Lions, the band former Survivor man Jim Peterik formed with singer Toby Hitchcock. It was recorded at World Stage International Studios in Chicago, and Nexus released the Japanese edition on 22 October 2003 as KICP-963.

A largely covers-based record made alongside the Hanoi Rocks reunion: thirteen songs taking in Eddie & The Hot Rods, X-Ray Spex and Leonard Cohen.

The third album, twelve songs including "Live for This" — the record that carried the band's name furthest.

A live album recorded in Carlisle, England and released by Angel Air Records in 2003. Its sixteen tracks set songs from the then-current Noises From the Cathouse beside the 1980s repertoire.

A studio album issued by Communique Records. The band's own discography dates it to 2003 and this page follows that; MusicBrainz says 2004. The edition on streaming services is the 2016 Angel Air reissue, which adds three bonus tracks.

The band's return after a three-year gap, recorded at House of Music Studios in Winterbach. Primal Fear's Ralf Scheepers sings backing vocals on "Finalizer".

Invitation uses fast guitar, glittering keyboards and powerful vocals to make bright, dramatic Finnish power metal.

Far from the Sun keeps heavy guitar underneath softer vocals, expansive keyboards and subdued melody.

We've Come for You All connects Anthrax’s sharp riffs and springing rhythm to John Bush’s forceful vocals inside a modern, hard-edged production.

Reflections places the cello at the center of both riff and melody, combining its resonance with heavy rhythm and classical tension.

Anthems of Rebellion pairs cutting twin guitar, heavy rhythm and Angela Gossow’s fierce roar in a high-level balance of aggression and melody.

Waking the Fallen joins harsh roars, heavy breakdowns and twin-guitar melody into music that balances aggression with drama.

Stockholm Syndrome uses distorted guitar, rough vocals and punkish beat to make rock and roll with a dangerous scent.

The Blessed Hellride joins Zakk Wylde’s thick riffing and Southern-blues feeling to a dragging, heavy groove.

Soul Talks, Melodies Walk layers smooth vocals, full keyboards and poised guitar into hard rock that values melody.

This Left Feels Right is a useful way to hear BON JOVI from a different angle within the 2003 catalogue.

Hate Crew Deathroll throws sharp guitar, urgent keyboards and harsh vocals together at high speed.

Sign of Madness combines thick guitar riffs, steady beat and soaring vocals in melodic hard rock that keeps songcraft at the center.

Dark Moor uses fast guitar, classical-flavored keyboards and thick chorus work to draw the color of symphonic power metal.

Bananas finds Deep Purple working from blues-rooted riffs, Hammond organ and expansive vocals with the conversational ease of a seasoned band.

Accelerated Evolution combines walls of guitar, dense arrangement and soaring vocals to make heaviness and release coexist.

This Is Hell packs short, cutting guitar riffs, racing rhythm and harsh roars into a dense attack.

Evilized puts thick riffs, forceful vocals and crowd-ready choruses at the front of a pure heavy-metal statement.

Train of Thought turns Dream Theater toward harder, darker progressive metal through low guitar, precise rhythm and technical keyboards.

Dreams for the Daring layers tearful guitar, smooth high vocals and poised rhythm to draw melodic hard rock with real melancholy.

Aphelion layers clear vocals, glittering keyboards and heavy guitar to balance elegance with strength.

The Phantom Agony layers heavy guitar, orchestra, choir and Simone Simons’s clear voice into a large-scale drama.

Fallen layers hard guitar, piano, strings and Amy Lee’s clear voice to make darkness and accessibility coexist.

Prime Time combines FireHouse’s clear high vocals, polished guitar and instantly graspable choruses with care.

Burning Earth joins thick riffs, fast rhythm and neoclassical lead guitar in heavy, aggressive power metal.

The Flag of Punishment combines neoclassical guitar, fast rhythm and soaring high vocals into vivid power metal.

Faceless puts physical weight at the front through thick guitar, low-stepping rhythm and rough vocals.

The Link builds distinctive pressure from low, rolling guitar, machine-like rhythm and heavy roars.

Human Zoo refines Gotthard’s hard-rock core through thick riffs, sticky groove and Steve Lee’s powerful voice.

No Regrets uses rough guitar, bouncing beat and spit-out vocals to make punk-leaning rock and roll.

Higher combines delicate melody, thick harmony and tight guitar riffing into refined hard rock.

Rabbit Don’t Come Easy returns Helloween to the pleasure of fast riffs, bright melody and choruses made to be sung.