2020 Metal & Hard Rock Albums

The fourteenth album, and the first studio record with Mike Heller. Gallagher pitched it as the album Raven would have made straight after 1982's Wiped Out.

The third album, named after the genre tag the band invented for itself. A European tour ended about a week after its release when the pandemic closed everything down, and "Dark Side" came out of that.

2020年発表のスタジオ作。

BABYMETAL’s first best-of collection, tracing ten years of transformation from early shock to global-scale metal spectacle.

HAGANE’s debut EP, condensing clear melody, speed and technical guitar work into a concise first statement.

With Brian Johnson, Phil Rudd and Cliff Williams back in the fold, Power Up returns AC/DC to its essential language: thick rhythm guitar, forward-driving beat and a

Evoke 2010-2020 is best heard not simply as a covers-related entry, but as a record that shows how ALDIOUS translates outside material into its own

Evoke II 2010-2020 is best heard not simply as a covers-related entry, but as a record that shows how ALDIOUS translates outside material into its own

Manifest pushes Amaranthe’s defining three-vocal approach into bolder electronic detail and metal momentum.

Ballistic, Sadistic condenses the speed, odd turns and black humor associated with Jeff Waters’ Annihilator.

Cell-0 places the sound of the cello itself at the center, with Apocalyptica working without a featured vocalist.

Released for the band’s twenty-fifth anniversary, Expansion reinforces BLINDMAN’s identity as a melodic and emotional hard-rock band with a stronger sense of ensemble.

As its title suggests, Bon Jovi’s fifteenth album is closely tied to the atmosphere of 2020.

Moment gathers Dark Tranquillity’s core language—sharp guitars, cold keyboards and an introspective lyrical atmosphere—into a fluid melodic-death-metal record.

Continuing its collaboration with producer Bob Ezrin, Deep Purple’s twenty-first album balances hard-rock weight with a relaxed sense of play.

Alter Echo develops Dizzy Mizz Lizzy’s alternative-rock edge into more detailed, narrative-minded structures.

The Dark Delight sharpens Dynazty’s modern melodic-metal momentum into a harder and more dramatic form.

Fates Warning’s thirteenth album uses progressive-metal complexity not as a display case, but as a way to trace time and shifting emotion.

On its self-titled ninth album, Firewind organize the elements that make the band immediately recognizable.

F8 builds on Five Finger Death Punch’s huge riffs and modern-metal groove while placing emotions beyond anger at the front.

FM’s twelfth album refines the space between AOR and hard rock around Steve Overland’s smooth, powerful voice.

#13 by GOTTHARD: track list, Spotify player, music videos and English liner notes on METAL BOOST.

H.E.A.T II revives the energy of eighties arena rock with modern punch and speed.

Change the World brings together Harem Scarem’s strengths—smart chord movement, muscular guitar and unforgettable choruses—with a high level of finish.

Skycrest drives Iron Savior’s long-running space-age imagery and straightforward power metal with renewed heat.

Wide Awake (In My Dreamland) gathers Jeff Scott Soto’s experience across AOR, melodic rock and hard rock into one solo record.

By choosing a self-title for its tenth album, Lamb of God reasserts the band’s core.

Electric Pentagram shows Lovebites’ unity as a five-piece through both speed and drama.

Tokyo Jukebox 3 is best heard not simply as a covers-related entry, but as a record that shows how MARTY FRIEDMAN translates outside material into its

Metal Division does exactly what its title promises: it puts fundamental heavy-metal elements directly in front of the listener.

Nightwish’s ninth album tells a large story through two perspectives: “Human.” and “Nature.” The first half connects Floor Jansen’s expressive singing, Marko Hietala

Ordinary Man, Ozzy Osbourne’s first studio album in nearly a decade, places his enduring defiance beside direct thoughts about age and mortality.

Perfect Plan’s second album polishes the appeal of Scandinavian melodic rock in a very direct way.

Cowboy Man is Peyton Parrish’s debut, mixing country earthiness, post-grunge directness and metal weight into one songwriting world.

Metal Commando lives up to its title by committing fully to traditional heavy metal’s forward drive.

Wings of Rage connects the forward drive of German metal with Rage’s particular sense of melancholy.

Rise brings together the personalities of Deen Castronovo, Doug Aldrich and Jack Blades with no wasted motion in service of melodic rock.

Royal Hunt’s Dystopia is a concept work that uses detailed keyboard arrangements, thick guitar and several guest vocalists to dramatize an oppressive future vision.

Testament’s thirteenth album retains thrash metal’s cutting edge while adding the weight and ease of a long career.

Verminous pours the speed of melodic death metal into a dense world that suggests horror and fantasy literature.

Tokyo Motor Fist’s second album centers on Ted Poley’s immediately likable voice and Steve Brown’s bright guitar, presenting eighties-style melodic hard rock in a mo

Trivium’s ninth album tightly connects thrash sharpness, metalcore aggression and progressive movement, even within compact songs.

We Are One is an unusual collaboration between U.D.O. and the German Armed Forces Concert Band, directly combining heavy-metal riffs with full wind-band arrangements.

2020 is Adrian Vandenberg’s first Vandenberg studio album in roughly thirty-five years.