Find the best metal albums we have chosen for you, click on the title of the album to access to it’s detailed post. You’ll find the related albums of the band at the bottom of it’s post. Use the search textbox upper to quickly find your favourite bands, artists or songs. Enjoy! \m/
Fuel to the Flames is the seventh album by the German hard rock band Bonfire. Released in 1999 by BMG International, it marks the return of the signature rock sound that the band had been known for.
Fronted lyrically by Byron Roberts and musically by brothers Jonny and Chris Maulding, Bal-Sagoth debuted with their inconspicuously darkly themed A Black Moon Broods Over Lemuria in 1993, coincidentally at the height of the brimming second-wave Norwegian black metal movement. Perhaps it is this similarity in period of release that often sees Bal-Sagoth’s A Black Moon categorized haphazardly as symphonic black metal. While it is quite obvious that Bal-Sagoth used many themes of the black metal ideology to craft and relay their ideas, there’s much more than just tremolo picked riffs and cold keyboards. In reality, A Black Moon takes more influence from the old school death metal movement than it does black metal. However, the grand accomplishment of the album lies in its ability to weave death metal, black metal, and soaring, fantasy themed keyboards into a perfect swirling mix of mythological tales.
With the fourth album  a moment has come to dare and strike the world with original only material, still performed in a neoclassical way – this time round celloists are assisted by some more pieces of classical music set, along the human drummer in person of Dave Lombardo, who adds catchy and intense qualities of music in no less than five tracks; with as much skill, precision and genius these guys provide, composing mostly harmonious and dynamic material, it instantly turns into a win-win situation; recent edition comes with five bonuses, including Rammstein Seemann cover with Nina Hagen on lead vocals.
Nightfall returns with a controversial new album mostly due to its title I Am Jesus. Please rewind… the band has been around for more than 10 years and started it out as a death metal band, soon peering at black metal horizons, then made a total u-turn to the dark metal side with the release of Lesbian Show, an album that was supported by a massive promotional campaign that made me buy the limited edition containing a promo video. I can’t believe I bought this stuff once as I still consider this album as a total joke, but I admit it was a total success in the marketing process.
Moonspell radically change their sound from black/gothic metal to experimental rock, but somehow manage to pull that off perfectly. An unusual but excellent album.
What a difference a mere two years can make. In 1996 Moonspell managed to establish them as a force within metal to be reckoned with – especially in Portugal – and were one of the most promising black/gothic metal bands out there. Here we are in 1998 and Moonspell return with their third full-length release – usually a crucial one for bands trying to separate them from the rest of the bunch – that is called Sin/Pecado, yet they almost seem like a complete other band.
The early 21st century saw many new bands emerge that worshiped good-time, anthemic heavy metal from the ’80s. The Darkness immediately come to mind, and also Finland’s Lordi. Musically and visually modeled after such groups as Kiss, Alice Cooper, Twisted Sister, and W.A.S.P., Lordi caused a sensation by winning the 2006 Eurovision contest, which in turn made their third release, The Arockalypse, a hit throughout Europe. Fist-pumping metal with over the top theatrics abound throughout, especially on the album’s Euro hit, “Hard Rock Hallelujah,” as well as the oh-so-subtle “Bringing Back the Balls to Rock” and the power ballad “It Snows in Hell.” Add special guest appearances by Kiss’ Bruce Kulick, Accept’s Udo Dirkschneider, and Twisted Sister’s Dee Snider and Jay Jay French, and you have quite a headbanging rock & roll party. To sum it up succinctly, if GWAR actually wrote memorable songs, they would be quite a lot like Lordi.
The album received mixed reviews. In an early 2007 issue of Terrorizer Magazine, it got 2 of 10, and the reviewer called it “Euro-pop bilge”. But Brave Words & Bloody Knuckles thought differently, calling it “a melancholic pop-rock album geared towards a non-metal audience. While it does have commercial potential-particularly on the European market- it is also a surprisingly strong multi-faceted piece of work well distanced from the Britney Spears/P!nk/Jessica Simpson formula.”
Deathstars’ style is known as “deathglam” among the fans (it was the working title of Night Electric Night), but the Occam’s razor doesn’t really warrant such a specific label, since the band basically plays bouncy pop industrial blended with a dose of goth metal (no big novelty, either). During their best — that’s to say, most dynamic — moments, Deathstars are pretty similar to Rammstein, utilizing the same brand of simplistic heavy riffs and “get your tushy in gear” rhythms; the synth textures lend a grim, theatrical atmosphere to the music, and the vocalist (who goes by “Whiplasher Bernadotte”) tips it all off with some deeply sinful crooning and occasional snarling. The lyrics are in English, not German, but it doesn’t matter, since Deathstars aren’t here to challenge Bob Dylan. What’s more important is that Deathstars’ flair for dark pomp never lets them become as recklessly ferocious as Rammstein: they’re too serious to be just a Cirque du Soleil for the Marquis de Sade. Neither are they as decadent as Marilyn Manson; instead, the group rocks out the gothic way, coming off like Lake of Tears with melodic black keyboards when they’re on and overdoing the maudlin thing when they’re not — the album features a good deal of slower, more epic moments that don’t impress as much as the heavier parts simply because the band trades hooks for melodrama. A typical flaw, but then again, Night Electric Night’s main problem is that it sounds typical — at times derivative to the point of quotation. Deathstars aren’t copycats, but it’s possible to list out their influences and analogies completely, leaving nothing that’s particular for the band in question. The group compensates for this with an array of nice hooks and riffs (though the record still has some filler), but ultimately, the amount of fun to be derived from Night Electric Night depends on the listener’s ability to block the “same deal, different package” feeling.
Being comprised of beautiful synthesizers, smooth atmospheres, and charming lyrics, ‘The Northern Light’ is an accessible creation from the hands of Covenant.
Northern Light is what you could call Covenant at their pinnacle and most daring, per say. Although they have made few stellar albums, this atmospheric-drenched and awe-inspiring long-player showcases that Covenant are a truly dedicated, hard-working group. With the production being almost frighteningly clean and smooth at times, Northern Light is well-displayed and certainly grasping from a musical and even lyrical aim. For an album that (I’m guessing) was probably questioned and minimally answered mostly because of Covenant’s shaky past (bad albums, production, lack of creativity within some of their albums),Northern Light by no means disappoints and is a definite sweet spot for the band, despite some drawbacks.
Excellent, really excellent. This Believe reminds me Kreator’s Endorama (sound of guitars and song-writting), but a bit more electronic. The voice is as usual : guttural. This is the type of album you put in the CD-player without skipping any song. The only “bad point” is this similarities between the song where I didn’t really know if I was listening to song 1 or 4.
The production is also excellent with crystal clear sound for each instrument (special mention for the keyboard “effects”).This is one of the best production I have heard this year. If Crematory wasn’t using guttural voice I could bet their music would have a big success on the radio.