So now, without further ado: The Final Volume. And what better way to bookend everything than with Iron Maiden?

IRON MAIDEN – BRAVE NEW WORLD

Returning after a nearly decade-long hiatus, Bruce Dickinson and Adrian Smith re-energize this legendary band; Maiden finally putting the blandness of the Bayley years behind them and returning to show us kids today what metal really sounds like. Steve Harris’ gift for epic songwriting is still intact, but it’s lead single (and shortest track) “The Wicker Man” that will forever define Maiden’s comeback, that soaring chorus being exactly what we wanted to hear from Eddie and Co after all those wasted years. [EMI, 2000]

• • • •

DEVIN TOWNSEND – TERRIA

In many ways, Terria is Devin Townsend’s most musically accomplished work; in others, it’s his most head-scratching. Whichever way you see it, songs like “Earth Day” and the beautiful “Deep Peace” showcase everything that makes Townsend’s music so distinctive and great; dense layers of ambient guitars and vocals supplement deceptively poppy core structures, with Townsend’s emotional vocals and stream-of-consciousness lyrics delivering hooks so bizarre its hard to believe how incredibly catchy they are. Deep, memorable, and undoubtedly unique, Terria takes you on a musical journey that you’ll want to revisit again and again. [InsideOut, 2001]

• • • •

IMMORTAL – SONS OF NORTHERN DARKNESS

A few years after the dramatic sonic makeover first revealed on the landmark album At the Heart of Winter, Immortal finally broke into mainstream metal consciousness with Sons of Northern Darkness. Neither with symphonic bombast, nor with extracurricular shenanigans did Immortal win the masses’ favor, rather it was with a cold, steely attack as sharp as the spikes on Abbath’s gauntlets. From the galloping thrash of “One by One’, to the epic lament of “Beyond the North Waves,” SoND saw Immortal ending their career (temporarily) in top form. [Nuclear Blast, 2002]

• • • •

BLUT AUS NORD – THE WORK WHICH TRANSFORMS GOD

A quintessential masterpiece. Universally praised by fans, musicians, and critics both in and out of the metal scene, Blut Aus Nord’s most successful attempt at twisting and reinventing black metal into a warped new design has already taken its place in the timeless halls of the mighty. Instead of just trying to sound disturbing, The Work…actually is perversely alien and otherworldly, eliminating all boundaries while changing the way many people listen to music. Its brilliance is undeniable. [Appease Me…/Adipocere, 2003]

• • • •

ANAAL NATHRAKH – DOMINE NON ES DIGNUS

A younger, more violent sibling to Slayer’s Reign In Blood–in style, if not in stature–and the most direct release in their catalog. The sound of forced vomiting heralds nine sadistically fast, insanely vocalized pieces of utter musical carnage. Cleaner and more focused in their delivery, tracks such as “The Oblivion Gene” and “The Final Destruction Of Dignity” are prime examples of music designed to terrorize anyone within earshot. Dynamics be damned, this is a full-on bloodbath of the highest order. [Season of Mist, 2004]

• • • •

ARSIS – A CELEBRATION OF GUILT

Right place, right time? Or just that fucking good? Well, Arsis’ debut was a killer combination of both. In a world starved of MDM heroes, this upstart duo’s worship-combo of Heartwork, …AFJA, and Storm of the Light’s Bane was as refreshing as it was opportune. James Malone’s championship riffing (2:30 of “The Face of My Innocence,” anyone?) and jaw-dropping soloing was the cocaine-coated candy to starving, withdrawn melodeathsters. ACoG stands as one of the most impressive, energizing debuts ever. [Willowtip, 2004]

• • • •

BETWEEN THE BURIED AND ME – ALASKA

That rare album that would be the Number One Album of Year if it were released each year, Alaska stands as one of the true testaments to extreme musical creativity and skill. Though some saw their scattershot precision and unpredictability as unnerving and unfocused, most saw the album as a brave, genre-defying melting pot. “All Bodies” and “Selkies” fused grindcore, power metal, acoustic beauty and death metal into one elegant, eloquent and extreme foray into envelope-shattering brilliance that even with 2008’s magnificent follow up, Colors, the band has yet to match. [Victory, 2005]

• • • •

NEVERMORE – THIS GODLESS ENDEAVOR

Dark/thrash/prog/power/whatever metal band Nevermore ride Warrel Dane’s singularly bombastic vocals and Jeff Loomis’ endless array of solid shred riffs to metallic glory on this one, redeeming themselves from the admittedly problematic Enemies Of Reality. This Endeavor is a snarling, dense masterwork of desperation, anger, and intensity the likes of which only Nevermore could create, with a musical depth and aggression matched only by the lyrics. Love ‘em or hate ‘em, Nevermore does cerebral moodiness better than most–and never better than this. [Century Media, 2005]

• • • •

DRUDKH – BLOOD IN OUR WELLS

Drudkh’s fourth opus was the first in a line of divisive releases. Some fans saw it as a dull and clumsy reiteration of the fiery passion of their earlier albums; others saw it as a bold, highly rewarding take on epic black metal. Whether you loved it or hated it, Drudkh threw everyone for a loop with this album’s deliberate pacing (with nary a blastbeat to be found), surprisingly emotional vocal work, and some of the most scorching guitar solos ever to surface on a black metal record. The album’s deviation from expected norms still doesn’t sit right with many listeners, but Blood In Our Wells proved Drudkh’s ability to step outside of black metal’s boundaries into something even more mammoth in scope. [Supernal, 2006]

• • • •

DECREPIT BIRTH – DIMINISHING BETWEEN WORLDS

Californian tech-death outfit Decrepit Birth topped Metal Review’s Best of 2008 list with this jaw-dropping, head-spinning display of melodic leads, bone-breaking riffs, machine-precise drumming, and surprisingly catchy song-craft. Guitarist Matt Sotelo leads the charge, as nearly every split-second of this is drenched in shred-tastic guitar wheedle…but don’t let that turn you off. Diminishing Between Worlds is a rarity, a dizzying display of technicality that is as enjoyable to fans of bare-bones death metal as it is to the muso types. [Unique Leader, 2008]

• • • •

There you have it. 100 Essential Albums from a sprawling, ambitious decade in heavy metal. Raise ’em up.

The post 00s Essentials – Volume Ten appeared first on Last Rites.

THE CROWN – DEATHRACE KING

Even in a world populated by D666 and The Chasm, Deathrace King stands out as one of the most unabashedly metal-as-fuck records in history. A 300 MPH blast furnace of freewheeling deathrash fury, this is the most fun a human can have with guitar solos and Satan. Violent, empowering party anthems like “Rebel Angel” and “Killing Star (Superbia Luxuria XXX)” are fueled by pure adrenaline, while “Devil Gate Ride” and “Total Satan” push the limits of throat-ripping absurdity. This King‘s crown remains unchallenged. [Metal Blade, 2000]

• • • •

BLOODBATH – RESURRECTION THROUGH CARNAGE

Everything old is new again; that is the story of the decade. The Swedish death metal revival, in particular, began with Bloodbath. Bloodbath itself started as some drunken fun in the studio amongst some big names in Swedish metal, and ended up as death metal’s first supergroup. With the infamous rusty chainsaw guitar tone that is a hallmark of the Sunlight Studio sound and some positively demonic vocals from Mikael Akerfeldt, Bloodbath rampages through ten tracks of the catchiest death metal of the decade.  [Century Media, 2002]

• • • •

THE LORD WEIRD SLOUGH FEG – TRAVELLER

Ask any long-time Slough Feg fan their favorite album and most often they’ll come back with either Down Among the Deadmen or Traveller, with the defining element often being as simple as which record they happened upon first. It’s a tough choice, really, as both records prominently display the band’s penchant for blazing with intensely melodic twin-axe flair. In the end, it’s Traveller‘s bizarre nod to the ancient Sci-fi roleplaying game of the same name that wins it by a Vargr’s nose. [Dragonheart, 2003]

• • • •

THE CHASM – THE SPELL OF RETRIBUTION

If there was a sub-genre called epic death metal, The Chasm would be its kings. This long running act finally got a deal on a big metal label and made the most of the opportunity.  A sprawling 60 minute opus, The Spell of Retribution is a varied and multilayered affair that wanders far–both musically and emotionally–without diluting its metal purity. Crafted more like a symphony than a metal record, The Spell of Retribution is death metal as high art.  [Wicked World, 2004]

• • • •

NECROPHAGIST – EPITAPH

Brushed off by elitists as only constant wankery, Necrophagist are in reality a well-oiled machine of incredibly infectious and well-written tech death. More clinical than a full season of Nip/Tuck, Epitaph is 33 minutes of delightfully over the top drumming, gore-obsessed vocals, and ludicrous guitar work (riffs, licks, chugs, shreds, and some very classy soloing). Think of it as a way to scare your Dragonforce-loving little cousin, while at the same time introducing him to the flesh-devouring beast known as death metal.  [Relapse, 2004]

• • • •

DECAPITATED – ORGANIC HALLUCINOSIS

An emotional affair, indeed. Decapitated release their finest thirty-two minutes ever, and then flip a bus. And the course of extreme technical DM is forever haunted, and yet tainted while countless others immediately attempt to replace what cannot be. New vocalist, Covan, knows the art of syllable placement beyond his predecessor, Sauron, and brings the voice forth as an instrument, all tied up in Vogg and Vitek’s (R.I.P.) riff-shifts. Advanced in the art of bashery. [Earache, 2006]

• • • •

INSOMNIUM – ABOVE THE WEEPING WORLD

Shedding a fair amount of the gloomy pallor that haunted their first two albums, Insomnium came out swinging in the third round. A multi-dimensional, richly layered work, Above the Weeping World was a phenomenal melodic death metal record in a climate that had harvested few. Stadium-esque corkers like “The Killjoy” firmly established the band as Europe’s leading purveyors of the style–no mean feat considering the genre’s storied history. This fan favorite set the bar at an impressive height. [Candlelight, 2006]

• • • •

WARNING – WATCHING FROM A DISTANCE

Many have fallen into the trap of describing music as “depressive,” “oppressive,” or “emotionally-driven.” Watching From A Distance is the record that makes everything referred to as such seem trite and manufactured. So human, so honest, so vulnerable are the strains of this doom landmark; mere words cannot properly convey its transcendence. A single listen to the heart-wrenching strains of “Footprints” should be proof enough of the band’s raw, naked power. Fittingly, this is the band’s swansong; attempting to match one of the greatest albums in the history of doom would be almost futile. [The Miskationic Foundation, 2007]

• • • •

DEAD CONGREGATION – GRAVES OF THE ARCHANGELS

Slog through the rather lengthy intro to Graves of the Archangels and you’ll quickly discover whether or not this Greek troupe’s style of loathsome death metal is meant for you. Everything about this record–the artwork, the packaging and, obviously, the wickedness wafting from your speakers–bleeds the dark, corrupted blood of early Incantation and Immolation into a hellish chalice poised for a wicked Communion. Not only was Graves of the Archangels one of the most putrid offerings of ’08, but it’s a true classic amongst many in terms of hellish, smoldering death metal. [Nuclear War Now!, 2008]

• • • •

GRAND MAGUS – IRON WILL

The buzz on Grand Magus’ fourth LP was that, once heard, it could not be unheard. Of course, this is a very good thing. The infectious awesomeness of Iron Will comes as a function of immaculately crafted songs centered on endless doomy riffs as well as the uncommonly spirited vocals of frontman JB–all delivered with powerful verve. Every element of this album–from the masterful riffs to foundation shaking drums to powerful, eloquent vocals–is honestly conceived and expertly crafted. [Rise Above, 2008]

• • • •

Only ten albums remain in our countdown of the 100 Most Essential Albums of the Decade. Click here to read the final installment.

The post 00s Essentials – Volume Nine appeared first on Last Rites.

A term that fits them all? Flag-bearers.

DESTRÖYER 666 – PHOENIX RISING

Deströyer 666, the masters of black/thrash, unleashed their second album, Phoenix Rising, in 2000. Compared to its predecessor, Unchain the Wolves, Phoenix Rising is a much more polished and modern sounding affair, but the band’s feral spirit remains fully intact. Tracks like “Rise of the Predator” and “Phoenix Rising” are sonic maelstroms, swirling with melody and thrashing violence, while “I am the Wargod” and “The Eternal Glory of War” summon the wolfcult to battle with an air of grim determination and imperial grandeur. [Season of Mist, 2000]

• • • •

OPETH – BLACKWATER PARK

The album that has essentially come to define Opeth’s sound, Blackwater Park bridges the band’s organic, grounded past with their more refined and polished output.  The trademark beauty-meets-punctuated-death approach is maintained, but given new life courtesy of a Steven Wilson production that maximized the band’s strengths and expanded its reach. Considered by many to represent Opeth’s creative apex, this masterpiece is a must for fans of progressive death metal. [Music for Nations, 2001]

• • • •

IMPALED – MONDO MEDICALE 

Impaled became the heir apparent to Carcass with The Dead Shall Dead Remain, but completely usurped the throne with this monstrous pile of gore-fucking-metal.  Sickening medical lyrics, uniquely named solos, and tracks like “Choke On It,” “The Worms Crawl In,” and “Raise the Stakes” all helped to cement their legacy. Meanwhile, “Rest in Faeces,” an ode to their much-maligned label (and employer, for some) drove home the point that they take shit from no one, a tradition that continues today. [Deathvomit, 2002]

• • • •

AMON AMARTH – VERSUS THE WORLD

With three albums of Viking-wrought melodic death metal already under their belts, Amon Amarth upped the hooks and emotion, taking their war global. Each song speaks for both their career and pagan heritage, particularly the new statement of purpose “Death in Fire”, the epic title track, and “Thousand Years of Oppression”, arguably the song of their career. They were heavier before and more accessible later, but only on Vs. The World did the wrath of these Norsemen forge such a brilliant balance in their fires. [Metal Blade, 2003]

• • • •

PIG DESTROYER – TERRIFYER

Between Scott Hull’s rifforamic glory and J.R. Hayes’ truly demented lyrics, Pig Destroyer became arguably the most artistically interesting grindcore collective in the new millennium with Prowler In The Yard. The vicious snarl of Terrifyer managed to top even its predecessor’s art-grind mastery by means of improved production, increased riff variety (check out “Gravedancer”) and some seriously killer actual songs. Originally packaged with a DVD–the harrowing one-track album Natasha–this one’s a sort of two-fer of absolutely brilliant 21st century grind. [Relapse, 2004]

• • • •

PELICAN – THE FIRE IN OUR THROATS WILL BECKON THE THAW

Instru-metal post-er children Pelican have released some seriously cinematic music in their day, but none so expansive and gripping as this verbosely-titled opus. The band’s trademark crashing chords, chiming guitars, and pounding drums are on full display, transitioning seamlessly between power and peace. So brilliant is their balance of heft and spacey atmosphere that the listener can’t stop marveling at the record’s depth long enough to notice the lack of a vocalist. Dynamic, dense, beautiful, blissful, panoramic post-metal perfection. [Hydra Head, 2005]

• • • •

HIGH ON FIRE – BLESSED BLACK WINGS

The metal elite have long had a love affair with Matt Pike, dating back to his days of Sleep. This carried over when he formed High on Fire and continued churning some of the best metal riffs this side of Tony Iommi. In 2005, the rest of the underground–and some of the mainstream–caught up, thanks to this crushingly heavy sonic attack that just keeps coming at you like an overly-aggressive cougar…except that you wouldn’t mind spending the night with this one. [Relapse, 2005]

• • • •

SUFFOCATION – SUFFOCATION

New York’s Suffocation re-united post-2000 to drop the solid-but-predictable Souls to Deny, and true to the band’s prediction, it was their second post-reunion record that would truly crush. This self-titled effort is better than its predecessor in every way. Mike Smith’s drumming is always superb, and the interplay between Terrance Hobbs, Guy Marchais and bassist Derek Boyer is top-notch. And who among you wouldn’t want to hear Frank Mullen’s serenade of, “I bathe myself in the entrails of you?”  This one’s fun for the whole family. [Relapse, 2006]

• • • •

ISOLE – BLISS OF SOLITUDE

Isole have quickly become one of the more consistent bands in the sorrow-soaked gloom-doom realm, and 2008’s excellent Bliss of Solitude did a superb job of expanding on the somber foundation laid down by the band’s previous works. Impressively smooth transitions from surprisingly heavy moments to quietly bleak measures–along with the band’s signature ethereal vocals–are what make this band and this particular album a bona-fide classic in the realm of seriously down-trodden doom metal.  [Napalm, 2008]

• • • •

GIANT SQUID – THE ICHTHYOLOGIST

Many rock albums over the years have told stories; very few have told them as compellingly as The Ichthyologist. Though Giant Squid’s debut, Metridium Fields, showed serious promise, few could’ve anticipated that the band’s move to ‘Frisco and the addition of Jackie Gratz on cello and vocals would yield a masterpiece of this caliber. Juggling an epochal narrative, massive stoner riffage, kaleidoscopic vox, and a wealth of unorthodox arrangements, Giant Squid took on and conquered a mighty task with this album. As transcendent and emotionally affecting as any listening experience you’ll find this year. [Translation Loss, 2009]

• • • •

Twenty more albums to go. The ride is almost over…

The post 00s Essentials – Volume Eight appeared first on Last Rites.

…the smell of burning flesh.

LYKATHEA AFLAME – ELVENEFRIS

For several years, Elvenefris was the ultimate album to impress your friends by knowing about. Released in a limited run with little recognition or potential for niche appeal, Lykathea Aflame’s mix of technical death metal with melodic peaks and Middle-Eastern atmospherics was something that the metal world wasn’t prepared for at the time. But anyone who has discovered this band’s work would be hard-pressed to argue that their sound was anything less than revolutionary. Blending head-spinning technicality and speed with genuinely beautiful melodies and atmospherics, Elvenefris is truly a lost gem.  [Obscene Productions, 2000]

• • • •

ISIS – OCEANIC

Never before had an album title been so appropriate. The heft of the riffs, flow of the songs, and overall “Weight” of the music come together as a beautiful and overwhelming image of mother ocean. By stripping away the noise from their Neurosis-influenced sound and realizing that the quiet parts only serve to make the waves crash harder, Isis fashioned a masterpiece–and simultaneously launched a thousand clones.Critics who pegged the band as imitators needed only to hear the crescendo of “Carry” to know that this bandwagon existed for a reason. It’s never too late to hop on. [Ipecac, 2002]

• • • •

AGALLOCH – THE MANTLE

One of the rare projects that managed to pioneer an entirely novel sub-genre–though one difficult to define–Portland’s Agalloch graced the world with The Mantle in 2002. The album elegantly wedded the cold harshness of the black metal aesthetic with captivating melodic folk music, and executed it nearly perfectly. The result was one of the most provocative and effectively moving pieces of music created this decade. “You Were But A Ghost In My Arms” is a song for the ages. [The End, 2002]

• • • •

VITAL REMAINS – DECHRISTIANIZE

Glen Benton’s return from Deicide suckage was in part due to appearing on this watershed album that saw Benton elevate Vital Remains from the death metal underground elite to Century Media flagship. Throw in 10 minute songs like “Entwined by Vengeance,”  Dave Suzuki’s opulent, epic solos, and Benton’s reenergized demonic vocals, and you had an album that not only paved the way for Deicide’s comeback a year later, but saw the words “epic” and “brutal death metal” paired with blasphemously grandiose results. [Century Media, 2003]

• • • •

DEATHSPELL OMEGA – SI MONUMENTUM REQUIRES, CIRCUMSPICE

The definition of a “breakthrough” album, Si Monumentum Requires, Circumspice elevated the little-known Deathspell Omega from solid Darkthrone-worshippers to an entirely unexpected new force in black metal. Aside from their complex lyrical themes regarding the philosophy of man and religion, the sound that Deathspell Omega summoned went above and beyond what most black metal fans had heard at that point. With bone-chilling riff-work, ghastly vocals, and experimental excursions into disturbing ambience, the impressive scope of Si Monumentum is rivaled only by how riveting the album actually is to listen to.  [Norma Evangelium Diaboli, 2004]

• • • •

AKERCOCKE – WORDS THAT GO UNSPOKEN, DEEDS THAT GO UNDONE

It’s unclear if this should be classified as “ahead of it’s time,” or just condescendingly deemed “too highbrow for mere mortal comprehension.” What is clear is how astonishing (and under-appreciated) Akercocke’s masterstroke truly is. Straddling (and erasing) the lines between crippling death metal, slicing black metal, and mind-fuckingly progressive wing-stretching, Words… defines the word ‘elite.’ Likely to be viewed with extreme reverence in the forthcoming years–and not just in progressive DM circles–this shocking expulsion of high Satanic art cemented Akercocke’s standing on an otherworldly plane.  [Earache, 2005]

• • • •

WOLVES IN THE THRONE ROOM – DIADEM OF TWELVE STARS

The black arts have a long history in the New World, but for many, this album announced the longstanding presence of a strong American black metal scene. Streamlining the epic formula established by Weakling and blending in some outside influences—post-rock crescendos, female vocals, and a unique Luddite attitude—Diadem of Twelve Stars both popularized an approach and reached across genre borders to a surprisingly broad variety of music fans. [Vendlus, 2006]

• • • •

NEGURA BUNGET – OM

At once hypnotic and disquieting, Om might be the perfect example of how to do progressive black metal. Infinitely inventive and unpredictable, Negura Bunget seemingly forge new territory with every note on this album. Restless riffs wander but never get lost, and exquisite melodies are comfortably nestled amidst daunting, dark atmospherics. An ambitious journey, to be sure. Om is as rewarding as it is complex. [Code666, 2006]

• • • •

UNEXPECT – IN A FLESH AQUARIUM

Plenty of modern metal bands like to borrow from other genres, but Unexpect take the interdisciplinary approach to another level. In A Flesh Aquarium throws every trick in the book at you–plus the book itself and some extra tactics too bizarre for publication. Crushing technical metal collides with Gypsy melodies, collapses into electronic paroxysm, and attempts daring neoclassical heights while a bizarre cast of vocalists chatter like deranged circus barkers. In A Flesh Aquarium constantly defies you to follow its improbable left turns—it’s essential listening for those who want a challenge. [The End/Ascendance, 2006]

• • • •

MITHRAS – BEHIND THE SHADOWS LIE MADNESS

Mithras are poised to shape the future of death metal as we know it. They had already proven their potential with Worlds Behind The Veil, but Behind The Shadows Lie Madness saw them streamline their sound, up the production quality, and deliver a record so epic and dizzyingly technical that it made all other death metal releases in 2007 feel tired and outdated. While their absurdly busy drumming and trademark outer-space solos were already introduced finely on Worlds, Behind… saw a notable growth in songwriting focus and lyrical storytelling, delivered by titanic production and some truly massive vocal work.  [Candlelight, 2007]

• • • •

Thus far, 60 Essential Heavy Metal Albums from our quickly-closing decade have been revealed. Only four more lists of ten remain; check back next week for the next installment in this series. Until then, crank these albums ’til you bleed.

The post 00s Essentials – Volume Six appeared first on Last Rites.

IMMOLATION – CLOSE TO A WORLD BELOW

While Immolation’s entire discography is utterly essential for death metal fans, Close To A World Below is when the band really made their indelible mark on metal history. An epic, destructive masterpiece, Close To A World Below introduced an intelligent spin on death metal songwriting that few have rivaled since. Ross Dolan’s vocals are morbid and engrossing, Alex Hernandez’s drumming is ruthlessly inventive, and the guitars sound like they are churning from the bowels of Hell itself. As evocative and dynamic as it is mercilessly brutal, Close To A World Below is truly the connoisseur’s death metal album. [Metal Blade, 2000]

• • • •

ABSU – TARA

For those who already followed the works of Absu, the all-around intensifying of their established, wispier style of unconventional black/thrash metal was like a sledgehammer hit to the orbital bone. A clinic in constant rhythmic motion, each track plays out in truly epic, tightly-riffed fashion, and showcases the incredible talents of drummer/vocalist, Proscriptor. Albums like Tara make metalheads proud, and nearly a decade later, it still rips. [Osmose, 2001]

• • • •

KATATONIA – LAST FAIR DEAL GONE DOWN

Named after a Robert Johnson classic, Last Fair Deal Gone Down might be how the blues would have evolved in Scandinavia: through melancholy, chilling and desperate melodies, and a strange sense of distant hope. Katatonia overflowed their masterpiece with echoing guitars and sorrowful lyrics, the latter delivered by the incomparable Jonas Renske. It’s almost as if The Cure went metal, only far more infectious and emotionally ambiguous. You will weep with Katatonia, and although you’ll be joyous in your tears, they won’t be tears of joy. [Peaceville, 2001]

• • • •

KATAKLYSM – SHADOWS & DUST

A stunning combination of megaton brutality and classic catchiness, Shadows & Dust is the complete package–the capitalization of the promise found on Epic‘s style-shift, and the lightning-in-a-bottle that they’ve since struggled to recapture. Driven by Maurizio Iacono’s distinctive vocal tradeoffs (morphing wildly from domineering beatdown artist into Gollum–trapped in a vat of boiling piss) and backboned by an seemingly inhuman wrecking crew, this is Kataklysm at their creative and destructive peak. [Nuclear Blast, 2002]

• • • •

MASTODON – REMISSION

Mastodon have become one of the most successful metal acts of the new millennium, but you’d never know it listening to 2002’s Remission. Though this monster of a rock album foreshadows the band’s progressive tendencies, it spends the bulk of its time bludgeoning the listener with vast, resin-coated cudgels that somehow double as hummable riffs. Loaded with instrumental fireworks and emotional gravitas, Remission laid the groundwork for Mastodon’s meteoric ascent. [Relapse, 2002]

• • • •

MELECHESH – SPHYNX

When Assyrian black/thrashers Melechesh relocated from Israel to the Netherlands sans drummer, the band conscripted Proscriptor McGovern of Texas occult metal masters Absu to man the kit. Sphynx, the second album of this Middle East meets West collaboration, is a swirling dust devil of serpentine melodies, odd metered beats and razor sharp black/thrash. Rather than sounding like a chaotic mess, this amalgamation of styles is seamlessly integrated into a sound that is exotic, hypnotic, and thrashtastic.  [Osmose, 2003]

• • • •

WINTERSUN – WINTERSUN

If you can bring yourself to forgive Jari Maenpaa for abandoning Ensiferum and the ridiculous delays for the release of Time, than you should be able to appreciate Wintersun as a remarkable slab of epic melodic death metal. Though many naysayers dismiss this album as another overly-dramatic Children of Bodom clone, Wintersun take this style to entirely new heights of emotion and complexity. The grandeur of tracks like “Death and the Healing” contrast beautifully with the more extreme nature of songs like “Winter Madness,” and Jari’s multifaceted vocal approach and awe-inspiring guitar work is supported beautifully by Kai Hahto’s utter brilliance behind the drum kit. [Nuclear Blast, 2004]

• • • •

GOJIRA – FROM MARS TO SIRIUS

When the Duplantier brothers dropped this megaton concept album about flying whales and the salvation of the human race, the heavy metal world embraced it and Gojira haven’t looked back. Built largely on austere, bone-bruising riffs and accented with progressive ideas, the greatest strength of this record lies in its contrast of suffocating heaviness with bright, creative melody and harmony. From Mars to Sirius validated Gojira as a legitimate global metal force. [Listenable/Mon Slip, 2005]

• • • •

DEICIDE – THE STENCH OF REDEMPTION

Ripping solos aside, Santolla and Owen pressed the refresh button on Benton and Asheim’s Deicide and everybody came out salivating. The malicious melody under Stench‘s wraps could rename 2004’s Scars Of The Crucifix as Hands Full Of Trail Mix, as that was a mixed bag, and this is definitely not. Nowhere near the brainless output that is much of the Deicide back-catalog, and much, much smarter than last year’s Til Death Do Us Part, making this their most diabolical of the decade. [Earache, 2006]

• • • •

REVELATION – RELEASE

Maryland’s Revelation returns under this name after a protracted absence (in the interim having released a slew of records under their other moniker, Against Nature).  And what better way to make a comeback than this staggering slab of emotional and contemplative doom, with the requisite dirge-y riffage amidst drifting dreamy passages and the entire affair featuring some truly tasteful and brilliant guitar leads. Nods to prog and a superb instrumental interplay help lift this one to the level of true morose-metal mastery.  Here’s hoping for a follow-up this decade. [Leaf Hound, 2008]

• • • •

There you have it: ten more albums you need to hear before the door closes on the 00’s. Click here for the next group of ten…

The post 00s Essentials – Volume Seven appeared first on Last Rites.

Not enough? Fine; you also get Black Fucking Sabbath.

NASUM – HUMAN 2.0

Human 2.0 brought grindcore out of the realm of gritty nostalgia and into the new millennium. Nasum’s catchy hooks and surprising use of melody made them the ire of many of grindcore elitists, but there’s no doubt that this is the band most responsible for the growth of the genre into what we know it as today. Brutally raw and unforgiving–yet remarkably memorable and well-composed–Human 2.0 introduced new possibilities for intricacy and variation in grind songs. Even years later, the palpable energy of tracks like “Shadows” and “Multinational Murderers Network “ continue to put most contemporary grind acts to shame.  [Relapse, 2000]

• • • •

WEAKLING – DEAD AS DREAMS

Perhaps this was the natural progression of black metal: to become even more despondent and desperate than the forefathers in Europe. Dead As Dreams is a prime example of music that seems to be a soundtrack to suicide. To some, this is a work of pure genius; a single full-length release and breakup that guarantees no fall from greatness. When it comes to black, droning despair, few albums are in league with this highly influential vision of misery. [Tumult, 2000]

• • • •

EMPEROR – PROMETHEUS: THE DISCIPLINE OF FIRE AND DEMISE

The swansong of one of black metal’s greatest bands. Ihsahn thrust two middle fingers skyward and released one of the most melodically ambitious albums the genre has ever seen. Rambunctious, progressive, and highly controversial in many circles, Emperor ended its studio career with a record that has yet to be equaled by anything the former members have produced since, while leaving their faithful fans hoping in vain for a return.  [Candlelight, 2001]

• • • •

DREAM THEATER – SIX DEGREES OF INNER TURBULENCE

It seemed an impossible task for Dream Theater to match 1999’s incomparable Metropolis Pt. 2: Scenes from a Memory, but the prog metal pioneers came pretty damn close with Six Degrees of Inner Turbulence. Broader in scope and heavier, the double album includes the band’s magnum opus:  the eight-part, 42-minute epic title track, which features all the noodly prowess the band is known for, tempered with outstanding songwriting and arrangement. [Elektra, 2002]

• • • •

ENSLAVED – BELOW THE LIGHTS

Already known to mix black metal with prog, psychedelia, and space rock, Enslaved threw the book completely out the window on Below the Lights. From the Deep Purple-ish keys in “The Dead Stare,” to the chanting in “Havenless,” to the jazz flute and extended soloing in “Queen of Night”, surprises are around every corner. Fortunately, Enslaved have the skills to make absolutely zero of it seem out of place. Through it all, it retains the coldness of their early work, proving that no matter how far they veer from Hordanes Land, a part of them is always home. [Osmose, 2003]

• • • •

ANATA – UNDER A STONE WITH NO INSCRIPTION

Considering the role tech death has played in forming the current landscape of metal, failing to mention Anata’s third album would be unforgivable. So challenging, yet so very addictive and intelligent, this was a tooth-rattling endeavor that became the album to beat when Top 10 lists made their rounds at the end of 2004. As remarkable as followup The Conductor’s Departure turned out to be, even that couldn’t match the technical hurricane this album conjured up. [Wicked World, 2004]

• • • •

NILE – ANNIHILATION OF THE WICKED

Nile had already assumed the role of death metal’s newest tour de force with In Their Darkened Shrines, but it was Annihilation of the Wicked that really delivered on the promise shown on the band’s first few LPs. This was due to the introduction of huge drumming talent George Kollias, as well as the immaculate production of Neil Kernon and the increased emphasis on Dallas Toller-Wade’s vocals. But more importantly, Annihilation saw Nile adding entirely new dimensions to their punishing sound, matching their incredible speed with crushing, anthemic slowdowns heavy enough to topple the highest monoliths of ancient Egypt. [Relapse, 2005]

• • • •

SOLITUDE AETURNUS – ALONE

Arlington, Texas’ Solitude Aeturnus has never really been known as the most prolific of heavy metal bands, but waiting a full eight years between releases was just downright cruel to fans of their immensely epic brand of doom. Of course, Alone proved to be well worth the wait, delivering nine grandiose tunes featuring perfect deliveries from all players involved. It’s honestly as close to a flawless, epic doom metal record as you can get, but let’s just hope we don’t have to wait an additional five years before their next release! [Massacre, 2006]

• • • •

DISMEMBER – DISMEMBER

Dismember are now the undisputed pinnacle of Swedish death metal, releasing back-to-back classics in The God That Never Was and this self-titled barn-burner, awesome even without former drummer/mastermind Fred Estby. Between massive riffs and that sweet, sweet Swedish guitar tone, this one stomped its way to the top of the band’s canon, a catalog already rife with killer records. Matti Karki’s growl is among the best in the business, even twenty years into his career. We dare you to crank “Europa Burns” and not bang your damn head. [Regain, 2008]

• • • •

HEAVEN & HELL – THE DEVIL YOU KNOW

You can argue about the quality of The Devil You Know all you want. What cannot be argued is the importance of a Dio-fronted Black Sabbath releasing a new album in the new millennium. From the ominous “Bible Black” to the spine-tingling “Follow the Tears,” the parties involved proved that there is still plenty of creative fuel in their collective tank even after 40 years of metal. Hail to the Stonehenge Gods? You bet your ass. [Rhino, 2009]

• • • •

We’re at the halfway point: fifty more albums to go. Haven’t seen your favorite yet? Click here to check out Volumes One through Four–maybe you missed it. If not, hang in there… five more weeks remain.  See you next time.

The post 00s Essentials – Volume Five appeared first on Last Rites.

DYING FETUS – DESTROY THE OPPOSITION

If you really want to blame deathcore on someone, try Dying Fetus and their indisputable pinnacle, Destroy the Opposition. Long regarded as an underground Suffocation clone, their Relapse debut infused even more clarity and hardcore into their sound, resulting in a punishing album full of sick, slamming grooves and calamitous blast beats. John Gallagher’s über-deep growls and grunts became the band’s trademark, as did their ability to create mosh pits. Look no further than the huge the title track or “Epidemic of Hate” for the blueprint of hardcore meeting death metal in a bare-knuckle fist fight–at a political convention. [Relapse, 2000]

• • • •

GREEN CARNATION – LIGHT OF DAY, DAY OF DARKNESS

How does one compose a single-song, sixty-minute album that truly is one song and not a collection of movements or stanzas? Ask Green Carnation. Never an overwhelming or daunting listen, Light of Day, Day of Darkness is a brilliantly woven and bombastic epic featuring exceptional vocals, instantly memorable riffs, and a kind of flow that every “progressive” band should strive for. A tour de force of composition and musical excellence that belongs in the collection of every fan of progressive music, not just metal. [The End, 2001]

• • • •

MESHUGGAH – NOTHING

Nothing was a highly divisive release for Meshuggah. It helped the band reach new heights of popularity, but it was shunned by many long-time fans for its increased simplicity and focus on lumbering groove. Regardless, Nothing was quite distinctive when it was released, and even now, seven years later, no one really knows quite what to make of it. A foreboding mix of machine-like pummeling and otherworldly ambience, songs like “Straws Pulled At Random” and the devastating “Perpetual Black Second” capitalized on the band’s off-kilter approach to heaviness while simultaneously proving the outfit’s atmospheric potential to naysayers.  [Nuclear Blast, 2002]

• • • •

REVEREND BIZARRE – IN THE RECTORY OF THE BIZARRE REVEREND

Late Finnish doom trio Reverend Bizarre dropped this hefty debut in 2002, the first of three records before their 2007 breakup. In these epic grooves lie sluggish, hefty riffs, moody and melancholic vocals, and an air of misery that owes much to classic doomsters like Candlemass and Saint Vitus.  With four songs clocking in at over ten minutes each, and one of those (album closer “Cirith Ungol”) over twice that long, this one’s a long, bleak trudge through doom mastery. Oppressive. Depressive. Impressive. [Sinister Figure, 2002]

• • • •

HAMMERS OF MISFORTUNE – THE AUGUST ENGINE

Impeccably crafted and masterfully executed, The August Engine epitomizes all that is great about Hammers of Misfortune. From the blistering medieval/industrial riffing of the resplendent two-part title track, to the beguiling air of delicate “Rainfall,” this album runs the gamut of emotion with unparalleled intensity. While the stupefying twin lead melodies and solos of John Cobbett and Mike Scalzi are, in and of themselves, worth the album’s price, it is the attention to fine detail in the songs that makes this record truly special. [Cruz del Sur, 2003]

• • • •

EXODUS – TEMPO OF THE DAMNED

It was a rough road back for Exodus. Following a (third reunion) in 2001 for the Thrash of the Titans benefit, they announced plans for their first studio album since Bonded By Blood to feature legendary vocalist Paul Baloff. Sadly, Baloff passed away following a 2002 stroke, but the rest of Exodus vowed to carry on in his memory with vocalist Steve “Zetro” Souza. The result was this 2004 thrashterpiece, which gave their classic sound a modern sheen and reminded everybody of just why they loved them in the first place. Tempo of the Damned still stands tall today as the best of their post-Baloff work. [Nuclear Blast, 2004]

• • • •

DARKANE – LAYERS OF LIES

It’s debatable whether or not this is Darkane’s finest hour….well, debatable amongst many, but we’re firm in our decision to call this their crowning achievement. Take the superior traits of all prior releases and then code, stir, and you have the embodiment that is LoL, but it’s no laughing matter. There’s a hook in every turn: Sydow’s vocal stylings, the Ideberg/Malmstrom chorded chaos connection, and, of course, Wildoer’s marksmanship. Pummels with finesse. [Nuclear Blast, 2005]

• • • •

WITCHCRAFT – FIREWOOD

Witchcraft’s debut was a fascinating retro curio of Pentagram worship, but with its sophomore release, Firewood, Witchcraft dodges the dreaded slump and fires back with a magnum opus. Their stripped-down sound leaves the band bereft of a wall of distortion to hide behind, forcing them to live on the strength of their songwriting and the passion of their performance. With a much stronger batch of songs, a newly developed flair for stinging solos and a whole lot more swing in their thing, on Firewood, Witchcraft is smoking hot. [Rise Above, 2005]

• • • •

I – BETWEEN TWO WORLDS

Featuring two original members of Immortal, the lead shredder of Enslaved and the one-time King ov Hell on bass, Norway’s simply monikered I offered up one of 2006’s most pleasant surprises with the amazing Between Two Worlds. Equal parts melodic metal and snaggletoothed Motörhead tribute, this beast of a debut was born to shadow a ripper’s dusty journey to the next watering hole or knife ‘n’ chain rumble. And Abbath’s 2-pack-a-day troglodyte vocals add just the right amount of grit to the pleasing, epic charges of kingly tunes such as “Warriors.” [Nuclear Blast, 2006]

• • • •

ULCERATE – EVERYTHING IS FIRE

A band that has always shown promise, Ulcerate take their moniker to heart by turning loose this ruptured monster of an album. As Chris McDonald stated in his review, the lines of Immolation-styled death metal are erased by shades of the cavernous Deathspell Omega, the complexities of Gorguts, and their own unique aesthetic…resulting in one of this year’s most incendiary–and somewhat groundbreaking–works of extreme metal art. A major accomplishment. [Willowtip/Candlelight, 2009]

• • • •

Ready for Volume Five?

The post 00s Essentials – Volume Four appeared first on Last Rites.

VADER – LITANY

THUD! THUD! THUD! THUD!

Polish death metal rose to great popularity early in this decade, thus it is quite fitting that the god-fathers of the scene should open new millennium with one of their best albums. Litany showcases Vader at the peak of their powers. With the late Doc’s kick-drums-on-steroids leading the way, Vader assaults the listener with the devastating precision of mechanized warfare. With eleven tracks crammed into a brutally intense thirty minutes, Litany could well be considered Vader’s Reign in Blood. [Metal Blade, 2000]

• • • •

CONVERGE – JANE DOE

Anyone who thinks that “metalcore” is shorthand for melodeath with breakdowns needs to track down a copy of Jane Doe post-haste. Converge is best-known for amping up hardcore punk into a spasmodic, grinding shitstorm, but this album’s greatness stems from its emotional charge and noise-riddled melodic sensibility. Jane Doe balances crestfallen beauty and vicious rage perfectly, and none of Converge’s scores of imitators have ever replicated its seamless narrative flow. This album made Converge the legends they are today, and deservedly so. [Equal Vision, 2001]

• • • •

RHAPSODY OF FIRE – POWER OF THE DRAGONFLAME

There are moments in Peter Jackson’s over-stylized version of The Lord of The Rings movies where the battle scenes are so absurdly packed with over-the-top spectacle that your eyes bleed profusely with merriment. Rhapsody’s The Power of the Dragonflame is the power metal equivalent of just such a victory. And “victory” is the optimum word to be stressed here, because this is symphonic power that underlines triumph with a stroke as heavy as Tammy Faye Bakker’s eyeliner. The 20-minute closing “Gargoyles, Angles of Darkness” is essentially every facet of grandeur typified. [LMP, 2002]

• • • •

ARCTURUS – THE SHAM MIRRORS

Smooth. Silky fucking smooth. That’s the only way to describe this svelte Arcturus release, which saw the band step away completely from their black metal heritage into warm, progressive and ultimately genre defying territory. Spearheaded by Garm’s velvety croons and a robust, crystal clear production, The Sham Mirrors was a collection of crunchy-but-hypnotic cosmic hymns and stellar sonic psalms that melted stars and minds alike. A rare, truly landmark album–one that, to this day, has yet to be topped by themselves–or any so-called “avant-garde” pretenders. [Ad Astra, 2002]

• • • •

EDGE OF SANITY – CRIMSON II

Dan Swano spends most of his time behind a mixing console these days, but Crimson II proved that his musical acumen lives on. Swano revived his under-appreciated melodeath band single-handedly in 2003 and recorded a musical and conceptual follow-up to the band’s magnum opus, the one-track Crimson. Stretching out a single song to 45 minutes—even a song laden with tricky grooves, layered synths, and gorgeous clean moments—is no mean feat, but Swano’s heroic effort and incredible skill makes Crimson II a ride worth taking. [Black Mark, 2003]

• • • •

YYRKOON – OCCULT MEDICINE

Not particularly groundbreaking–and free of jaw-dropping antics–but there’s a sick sway to it that just cannot be denied. Yyrkoon is an oddly named driving force to be reckoned with, and Occult Medicine was no one-trick pony. Its follow up, Unhealthy Opera, showed their teeth and claws un-dulled and still famished. Make no mistake that Medicine is where the hot streak began, and hopefully with no end in sight. Equal parts blast furnace to slow tank….what a prescription. [Osmose, 2004]

• • • •

MUNICIPAL WASTE – HAZARDOUS MUTATION

We’ve all heard the criticism for Municipal Waste, and to be fair, there is merit in some of it. But this has little bearing on the fact that Hazardous Mutation is one of the best thrash albums to surface in the last decade, if not the best. You’d have to be a truly jaded, callous soul to resist the hooks in songs like “Deathripper” and “Accelerated Vision,” the manic energy of Tony Foresta’s lyrical rants, and the never-ending barrage of top-notch riffs dispensed by Ryan Waste. Hazardous Mutation may in many ways serve as a tribute to the bands of yore, but that doesn’t mean that Municipal Waste don’t do what they do better than anyone else in contemporary metal.  [Earache, 2005]

• • • •

CANDLEMASS – CANDLEMASS

It seems things have settled a bit in the Candlemass camp since the arrival of Robert Lowe, but there was a 5-year dry spell at the start of 2000 that left some fans wondering if they’d actually heard the last from Leif’s baby. Certainly one of the last things we expected was the return of Messiah Marcolin for another album’s worth of material! The union didn’t last long, of course, but the results were nothing short of stunning. This self-titled release definitely injected some serious life back into the Candlemass tank. [Nuclear Blast, 2005]

• • • •

PHARAOH – THE LONGEST NIGHT

The Longest Night caught a lot of folks completely off guard; the only bit of familiarity to many of us being the distinct, rasped power vocals also heard on the lone Control Denied full-length. And while Tim Aymar’s unique voice stands as one of Pharaoh’s strongest selling points, it was the impeccable song-crafting and melodic noodling of Matt Johnsen that helped push The Longest Night into many metal fans’ top spot for 2006. [Cruz del Sur, 2006]

• • • •

ELITE – WE OWN THE MOUNTAINS

Riff-heavy black metal, dripping with gobs of thrash and death, We Own the Mountains encompasses everything great about metal: excellent hard-and-heavy riffing, melodic urgency, intense vocals, and epic storytelling. In a marked departure from previous records, Elite extended their reach from the periphery of extreme music to the center with modern production that helped to circumvent black metal’s typical hindrances. From the endless barrage of icy riffs to its nearly immeasurable raw energy, this record is damn near irresistible. [Folter, 2008]

• • • •

Thirty down, seventy to go. See you next week!

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