2010 Metal & Hard Rock Albums

Cathedral's ninth album, from March 2010 and their first double album: thirteen songs that bring in Mellotron, sitar and a guest female voice.

Blind Guardian's ninth album, released in July 2010 and made with an orchestra from Prague: number two in Germany, their best placing there to that date.

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.

A twelve-song second solo album that converts the momentum after Idol into an original-song set shaped by Scandinavian melodic rock, pop, AOR and major outside songwriters.

Cradle of Filth's ninth studio album, from November 2010, a concept record about Lilith.

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.

HIM's seventh album, from February 2010, and the first Ville Valo worked on entirely sober after his time in rehab.

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

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

The debut album by Triptykon, the band Thomas Gabriel Fischer formed after Celtic Frost. Released in March 2010.

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

Killing Joke's thirteenth album, out in September 2010 and the first in twenty-eight years recorded by the original four.

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

The debut album by Sweden's Ghost, released by Rise Above Records in October 2010 and nominated for a Grammis.

The second Alcest album, from March 2010: further into shoegaze, and with the black metal voice back in it.

The third Bullet for My Valentine album. Sony Music released the Japanese edition first, on 21 April 2010, with Europe following on 23 April and North America on 27 April. Don Gilmore, whose credits include Linkin Park, produced it, and the record entered the US album chart at number three.

Released on 14 December 2010, The Wörld Is Yours was the first Motörhead album on their own Motörhead Music / UDR. Warner Music Japan issued the Japanese pressing on 9 March 2011 as WPCR-50301.

King of Pain is the twenty-third Loudness album, released on 19 May 2010. It was the first full album with Masayuki Suzuki as drummer and reached No. 21 on the Oricon chart.

The second album, the one that put them on the German chart for the first time at number 91. Udo Dirkschneider of U.D.O. sings on the title track. EMI's Japanese edition, TOCP-66957, adds three bonus tracks for a fifteen-song running order.

A twelfth album after four years, led by "Little Drops of Heaven," that put the band back on a steady release cycle.

Blood of the Nations finds Accept rebooting the classic heavy-metal frame with Mark Tornillo and a modern sense of weight.

Deep Exceed is Aldious’ debut statement, joining bright twin guitars, speed-driven rhythm and melodic vocals in a traditional melodic-metal frame.

A Road to Depression uses the contrast of female dual vocals and metallic guitar to build shadowed, melodic rock.

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

The Showdown centers on the powerful voices of Russell Allen and Jørn Lande, building dramatic melodic metal around their contrast.

Aqua uses a water-themed concept to connect Angra’s Brazilian rhythmic feel, progressive turns and melodic power-metal lift.

Annihilator is a self-titled dose of Annihilator’s cutting thrash riffs, complex rhythm and Jeff Waters’ distinctive guitar spark.

7th Symphony joins Apocalyptica’s weighty cello sound to metal riffing while making room for guest vocals and electronic color.

Omega layers Asia’s grand keyboards, refined guitar and open choruses to connect progressive sensibility with AOR-style songcraft.

Angel of Babylon expands Avantasia’s metal-opera appeal through varied guest voices and symphonic arrangements.

The Wicked Symphony polishes Avantasia’s grand rock-opera feel with huge choruses, emotional melody and multiple vocal personalities.

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.

Re-rise reaffirms Blindman’s melodic-hard-rock strengths through fluent guitar work, rich melody and flexible rhythm.

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

Generation Wild joins Crashdïet’s sleazy rock-and-roll charge to catchy choruses and slightly shadowed melody.

New Religion rebuilds the huge choruses, bright guitar and forceful beat of eighties hard rock with a modern sound.

Ancestral Romance connects Dark Moor’s classical melody, symphonic breadth and refined power metal.

We Are the Void layers Dark Tranquillity’s cold-toned guitar melodies, precise rhythm and harsh vocals to create a beauty shaped by shadow.

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.

In the Night drives traditional heavy metal straight ahead with Dream Evil’s thick riffs, heroic choruses and passionate vocals.

Solitaire connects Edenbridge’s symphonic breadth, clear vocals and power-metal momentum.

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

Days of Defiance unites Firewind’s fast power metal, memorable lead guitar and strong choruses.

First Signal is a self-titled AOR and melodic-rock debut built around warm vocals, rich choruses and polished keyboards.

Metropolis marks FM’s return to British melodic rock with smooth vocals, refined keyboards and tasteful guitar.

Legend of the Shadowking collects Freedom Call’s bright, fast melody, singalong choruses and fantasy-world atmosphere in a concept-minded record.

Resurrection opens a new chapter for Galneryus by gathering virtuosic guitar and keyboards, racing rhythm and soaring melody into one forward thrust.

To the Metal! puts Gamma Ray’s racing riffs, heroic choruses and Kai Hansen’s forceful vocal style directly in front.

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