Distorted Sound’s Albums of the Decade 2010-19
And here we are, the end of another decade. When we reflect on the 2010s, one thing is for certain; the past ten years has been absolutely brilliant for heavy music. Metal’s rich history often paints a pretty picture of the 1980s, a decade that birthed thrash, extreme metal and saw staple names like IRON MAIDEN hit their legendary status. Whilst heavy music wasn’t necessarily embedded in the mainstream this decade, instead retreating back to the underground, a wave of creative renaissance has spread across metal with glorious results. Distorted Sound has operated since 2015, and we’ve thoroughly enjoyed reporting and covering on the past five years in heavy music, but of course we, as music advocates, must reflect on the decade as a whole, not just the years we’ve been operational. So, with great pleasure, we proudly present Distorted Sound‘s Albums of the Decade!
100. Apex – UNLEASH THE ARCHERS (Napalm Records, 2017)
The 2010s was a fairly uneventful decade for much of power metal as a genre. Thrash’s younger, nerdier, more up-beat sibling had very little to get excited about over the last ten years; established legends released a few noteworthy albums, but there wasn’t much to get hyped about in the way of fresh blood. Except Canada’s UNLEASH THE ARCHERS. After a lacklustre discography blending melodic death metal with power metal, Apex saw the outfit refine their sound, master their song-writing and perfect their execution. Further, vocalist Brittney Slayes has one of the most mesmerising clean voices in metal at the moment.
99. Woods 5: Grey Skies & Electric Light – WOODS OF YPRES (Earache, 2012)
Flash back to 2011 and it seemed that WOODS OF YPRES were on course to become one of the major players in North America’s black metal scene. Their melancholic soundscape of doom meets melodic black metal was working a treat but then, tragedy struck. On December 22nd, founding member David Gold lost his life in a car crash. Two months later, Woods 5: Grey Skies & Electric Light, the last album the band would release, not only serves as a tear-jerking and gorgeous tribute to the fallen David Gold, but showcases the glistening quality of the band; especially in the vocal department. The album may be stained with tragedy, but, the quality on this release far surpasses any preconceived notion that this release is so well-adored just because of the circumstances.
98. EOD: A Tale of Dark Legacy – THE GREAT OLD ONES (Season of Mist, 2017)
France’s Lovecraftian cultists have had a blinder of a decade, releasing four incredible albums; any of which could comfortably claim a place in the top 100 of the 2010s, including this year’s Cosmicism. However, it is THE GREAT OLD ONES’ third offering that really stands out. Based on Lovecraft’s The Shadow over Innsmouth, EOD: A Tale of Dark Legacy is hauntingly atmospheric, utterly eviscerating blast of Lovecraftian black metal, and the band’s magnum opus thus far.
97. Time I – WINTERSUN (Nuclear Blast, 2012)
After being marred by many delays since its original planned release in 2006, Time had a world of expectations for its release. When Time I finally arrived in October of 2012, WINTERSUN rewarded those who had been patiently waiting for years with five tracks of melodic death metal of the highest calibre. The epic Sons of Winter and Stars‘ intoxicating breadth is still just a thrill to listen to in 2019 as it was seven years ago and the title track is nothing but a delight. The decision to split the album in two may still be divisive amongst their fanbase (we are still waiting for Time II), but Time I certainly eclipsed those lofty expectations.
96. The Hymn Of A Broken Man – TIMES OF GRACE (Roadrunner Records, 2011)
TIMES OF GRACE are unfairly forgotten thanks to the constantly growing legacy of KILLSWITCH ENGAGE. The Hymn Of A Broken Man, gifted with the hindsight granted by how open Jesse Leach has been about his mental health, has aged beautifully with time, and is now a incredibly poignant journey through some of the more epic sounding metalcore the decade throughout. Emotionally raw, sounding huge, and featuring plenty of classic Adam D riffs, The Hymn Of A Broken Man deserves all of our attention.
95. Cult of The Dying Sun – UADA (Eisenwald, 2018)
America has seen some great artists come into the black metal scene, however it has often been overshadowed by countries such as Norway, Iceland and Sweden. When UADA released their debut album, Devoid of Light, in 2016 however, black metal had something special on its way. Fast forward to 2018, UADA released Cult of The Dying Sun, and in that moment they captivated everyone and everything around them and invited them to join eternal darkness. This album has done an incredible amount for the American black metal scene, and still UADA humbly stray from basking in any glory. That alone has made it one of the most special releases of the decade.
94. Where Shadows Forever Reign – DARK FUNERAL (Century Media, 2016)
Swedish black metal legends DARK FUNERAL released only one record between 2010 and 2019, but it was an absolute blinder. Perfectly encapsulating the quintessential Swedish melody with a healthy dose of classic Norwegian ferocity, Where Shadows Forever Reign was a thunderous return from Lord Ahriman and co. Not the best black metal album of the last ten years by any stretch, but a fantastic record worthy of note as we approach a new decade.
93. Hammer of the North – GRAND MAGUS (Roadrunner Records, 2010)
Five albums deep at this point, GRAND MAGUS were probably aware that they needed something special if they wanted to break out of the underground. Hammer of the North was the ticket they desired. Not only did it bag them tours with MOTÖRHEAD and DORO, it cracked the Top 50 in Germany and led to three songs which would become classics – the title track, I, The Jury and the stomping Ravens Guide Our Way. It could be that if this hadn’t performed as it did, GRAND MAGUS might not be around today; thank the Gods they are, though.
92. Hammer of the Witches – CRADLE OF FILTH (Nuclear Blast, 2015)
CRADLE OF FILTH are a bit of an institution within British extreme metal. Whilst they felt a bit of a lull in previous records, Hammer of the Witches brought them back to the forefront of the genre with a confident display of evil and witchcraft. The black metal influence is rife, and so is the death metal, and everything in between. Dani Filth sounds as possessed as ever but also as good as he ever has done, and by the end of the lengthy record there is an overwhelming sense that you’ve been hexed.
91. Thrice Woven – WOLVES IN THE THRONE ROOM (Artemisia Records, 2017)
As 2017 rolled around, many wondered where WOLVES IN THE THRONE ROOM would go after the ambient nature of 2014’s Celestite. The answer? They went back to black metal and crushed everything in their path, Thrice Woven was the beginning of a new chapter for the band, and what a beginning; five tracks, forty two minutes and an aggression that was a welcome return to form for the American outfit. Blistering riffs that charged out of periods of sinister calmness kept everyone on their toes and brought plaudits from all corners.
90. Autotheism – THE FACELESS (Sumerian Records, 2012)
THE FACELESS have not been without their demons over the course of their journey but Michael Keene is a true master of his craft and when on his game there are few who can match his skills. Whether we have witnessed the best years of THE FACELESS remains to be seen but Autotheism will always be highly regarded as it still stands up as one of the finest pieces of progressive metal that the world has to offer all these years later. The triple barrelled Autotheist Movement suite takes the listener through the entire spectrum of melody and visceral aggression and would have ticked all the boxes for even the most insatiable progressive metal enthusiasts. This is why Autotheism is such a marvel as the proceeding material is also of exceptional quality.
89. The Great Mass – SEPTICFLESH (Season of Mist, 2011)
The Great Mass was a clear move up for SEPTICFLESH. For an eighth album, it’s a debate that certain bands can only go so far. Yet SEPTICFLESH know just what to tap into, the symphonic moments on this record reaching as high as the more extreme death metal that accompanies it. Utterly haunting and malevolent, it’s a colourful endeavour into some of the most Gothically appealing work you can find; from The Vampire of Nazareth all the way through to Mad Architect, the cinematic elements of this record are some of the most visceral on offer this past decade.
88. Songs From The North – SWALLOW THE SUN (Century Media, 2015)
An absolute monumental undertaking is making a double album, but to complete a triple album, and for it to be as solid a body of work as Songs From The North I, II & III. SWALLOW THE SUN can never be accused of creating something average, and their sixth recording release back in 2015 was a gorgeous assembly of songs that were especially rich, spanning from their familiar melodic sounds on I, acoustic gentleness in II and swelling, dark doom on III. Each part of this collective album is an experience, one that shifts in your mind, ageing beautifully over time. You can revisit and mature with each motion of Songs From The North, enjoying all its creative exploration.
87. Mark of the Necrogram – NECROPHOBIC (Century Media, 2018)
NECROPHOBIC are clear fans of all things heavy and evil. But on Mark of the Necrogram they were able to confidently package this love in a rampaging and brutal collection of songs that made up the best material they’ve put out to date. The album shows the 90s death metal icons to be fully in control of all of their black, melodic, and brutal influences, and honed their grim story-telling to a scalpel point. For fans of the Swedish death metal sound, this is a warped and brilliant take on a sound that has echoed throughout the genre since its inception.
86. Keepers of the Faith – TERROR (Century Media, 2010)
From the incredible opening track, Keepers of the Faith is a complete masterclass in what modern hardcore should be. Impassioned vocals, relatable lyrics, thrash influences in every riff, and breakdowns coming from left, right, and centre. TERROR are one of the most revered voices in the hardcore scene, and at the turn of the decade they simply cemented that fact and begged everyone to play catch up with them.
85. The Threnody of Triumph – WINTERFYLLETH (Candlelight Records, 2012)
The UK’s black metal scene has enjoyed a fruitful decade with a crop of bands really hitting their stride and leading the pack is WINTERYFLLETH. 2012’s The Threnody of Triumph saw the Mancunians capitalise on the promise of 2008’s The Ghost of Heritage and 2010’s The Mercian Sphere to deliver a record of utter quality. Perfecting the balance of folk and black metal, The Threnody of Triumph saw WINTERFYLLETH at their very best with tracks like The Swart Raven and A Memorial establishing themselves as staples of their live set to this very day. A magnificent record and one in which showcases the very best in what the UK has to offer to black metal.
84. Sunbather – DEAFHEAVEN (Deathwish, 2013)
Summing up the sheer beauty of this album in 100 words is difficult, but the work DEAFHEAVEN did on Sunbather is still flooring in its brilliance. Taking the mantle that was set up by ALCEST, DEAFHEAVEN produce seven songs of exquisitely written and deeply emotional post-black metal that shook the tree hard and riled up a lot of die-hard black metal fans. The crescendo at the end of both Dream House and The Pecan Tree is chill inducing, and the progressive tendencies of Vertigo proved the band to be as intelligent at writing music as they are talented.
83. Omnivium – OBSCURA (Relapse Records, 2011)
Often being associated with the 21st Century incarnation of DEATH, Germany’s OBSCURA had been maintaining a solid run of form in the early 2000s, but 2011’s Omnivium stands to this day as their magnum opus. A solid and extraordinary release, the nine tracks on offer here showcase a band firing on all cylinders with jaw-dropping technicality in their musical make-up and a brutality that injects a cask full of aggression to the proceedings. Indeed, Omnivium stands as one of the finest technical death metal albums of this decade.
82. Auric Gates of Veles – HATE (Metal Blade, 2019)
HATE had an incredible decade, releasing five albums that comfortably sit at the top of their discography. Solarflesh: A Gospel of Radiant Divinity is one of the best blackened death metal albums of all time, while Tremendum was a wonderful hint at a new conceptual direction for Adam Buszko and co. But it is Auric Gates of Veles that sees HATE included in the best of the decade discussion. Conceptually fascinating, the band’s newest record delves into the oft-overlooked world of Slavonic paganism; but more importantly, the song-writing throughout is some of the best HATE have ever put to tape; all killer, no filler. The 2020s is theirs to dominate.
81. Deceiver of the Gods – AMON AMARTH (Metal Blade, 2013)
If you know AMON AMARTH, you know what you’re getting into. Tried and tested, this is the best of Viking metal, undisputed. For the past ten years any beyond, they’ve still produced some absolute bangers and AMON AMARTH’s ninth album Deceiver Of The Gods keeps the prestige of the band’s reputation intact. Keeping to the death metal vocals, the guitar tone is superb and the high energy of each melody is on point. Melodic, raucous fun the entire length through, it’s a blindingly good album through it’s up beat, tempestuous rhythm, joyous guitar riffs and instantly distinct vocals.
80. Constellation of the Black Light – WOLFHEART (Napalm Records, 2018)
In 2013, prolific Finnish mastermind Tuomas Saukkonen put all his many projects to bed and created something new; a singular focus for his song-writing genius. Since then, WOLFHEART as evolved from a passion-project into, arguably, Saukkonen’s most successful outfit to date. Blending heart-breaking Finnish melodic death metal with black and doom elements, WOLFHEART hit their apex with last year’s Constellation of the Black Light – an emotionally moving, sonically eviscerating blast of perfect melo-death. Opening track Everlasting Fall deserves particular note as an ambitious and deeply touching piece of brutality.
79. Welcome To The Morbid Reich – VADER (Nuclear Blast, 2011)
With a career now touching upon a staggering near four decades, Poland’s VADER have been at the forefront of extreme music for aeons and whilst they could have opted for the safe option by playing it safe this decade, 2011’s Welcome To Morbid Reich demonstrated a band with renewed fire in their collective bellies. Balancing the death metal ferocity with thrash metal tendencies perfectly, 2011’s offering is a record jam-packed full of tasty licks on tracks like Come and See My Sacrifice or I Am Who Feasts Upon Your Soul, whilst Piotr Wiwczarek‘s vocal deliveries are nothing short of consistently solid. Indeed, for a veteran band, this release demonstrates that their fire is still burning brightly.
78. Behold.Total.Rejection – REVENGE (Season of Mist, 2015)
There’s a lot to be said about REVENGE‘s 2015 release, Behold.Total.Rejection. It’s gone through every realm of bleakness and came back out our side again to expose us of the sheer darkness that it has experienced, and let’s face it, it leaves you feeling absolutely dismantled. The blackened death metal outfit have upped their game on a remarkable level with B.T.R, and since this albums landing the scene for soul-crushing and ear-battering has only expanded. It’s not for everyone, but for those who get it, it’s a masterpiece and nothing less.
77. With All Their Might – DYSCARNATE (Unique Leader, 2017)
It is difficult to believe that such a powerful force of nature can be constructed by only three musicians but this is precisely what DYSCARNATE have developed on With All Their Might. Their monstrous sound refuses to be tamed as gargantuan sounding riffs and devastating drumming mow down all who dare to oppose them. The album doesn’t run out of steam for even a second and the closing eight minute opus Nothing Seems Right is a perfect example of what DYSCARNATE have in their bag of tricks.
76. Starspawn – BLOOD INCANTATION (Dark Descent Records, 2016)
What a special album this is. Coming right as old-school death metal was enjoying a huge resurgence, Starspawn was lauded as a masterpiece at the time of its release. But far from being the flavour of the moment and the product of the internet’s hype machine, BLOOD INCANTATION only continued to grow and grow. Psychedelic in subtle micro-doses, sparse in hooks, but heavy on the masterful song-writing and mind-boggling brilliance, BLOOD INCANTATION are one of this decade’s best success stories – and Starspawn, with it’s perfect-moment-in-time brilliance is the catalyst.
75. Black Wash – PAGAN (Hassle Records, 2018)
A well-balanced cocktail of punk, metal and fun, Australia’s PAGAN came flying out of the traps in 2018 with a debut album you could both mosh and dance to in equal measures. Regardless of your chosen moveset, the likes of Wine and Lace, Flourescent Snakes and the insanely catchy Death Before Disco had no trouble in getting people to throw shapes en masse at packed venues up and down the country, enhanced even further by the quartet’s boundless energy on stage that helped to bring their incendiary live shows to fever pitch.
74. Majesty & Decay – IMMOLATION (Nuclear Blast, 2010)
A unique channelling of death metal runs through IMMOLATION’s veins, and bursting into the new decade was Majesty & Decay, the band’s eighth album. Thoughtful and desolating, it’s a great musing on the human desire to be God-like, taking a blunt and carnivorous swipe with big, dark riffs. What’s on offer here is the crème of IMMOLATION‘s writing; doomy, menacing, tyrannical, their unique patter of rhythm and aggression is tempered by their skill at knowing just how to obliterate and when.
73. Daemon – MAYHEM (Century Media, 2019)
Norwegian black metal legends MAYHEM‘s infamous legacy often acts as their crutch. Whilst the outfit are certainly a completely different outfit than they were in the volatile period of the early 1990s, their legacy often overlooks the band they are today. Whilst 2014’s Esoteric Warfare was a fairly lacklustre affair, this year’s Daemon recaptured the essence and dangerous nature that made them a household name for black metal. A visceral and downright vicious affair, Daemon is the closest living relative to the iconic De Mysteriis Dom Sathanas, and showcases that MAYHEM are very much alive and kicking this decade.
72. The Book of Souls – IRON MAIDEN (Parlophone, 2015)
When Bruce Dickinson was diagnosed with throat cancer, the good ship MAIDEN looked like it was hitting choppy waters, but the news that he had been given the all clear was followed up by their first ever double album storming to #1 in 43 different countries. It deserved it too; arguably the best of their career since 1988’s Seventh Son of a Seventh Son, the album had snappy rockers like Speed of Light, progressive behemoths like the title track and the bombastic, 18-minute epic Empire of the Clouds, the band’s longest ever song and a true masterpiece.
71. Gateway To The Antisphere – SULPHUR AEON (Imperium Productions, 2015)
Any of SULPHUR AEON’s three albums could have comfortably ranked on the decade’s top 100. Their 2013 debut Swallowed By the Ocean’s Tide was an incredible call to arms, while last year’s The Scythe of Cosmic Chaos saw the band reach their creative zenith. However, it is Gateway to the Antisphere that saw SULPHUR AEON double down on their incredible formula, and propel the outfit the one of the most exciting underground outfits in the game. A dark, haunting exploration of the Lovecraftian plane, Gateway to the Antisphere is everything that is good about blackened death metal.
70. Planetary Clairvoyance – TOMB MOLD (20 Buck Spin, 2019)
As this decade drew to a close, the new wave of death metal hit full stride, especially in the United States. TOMB MOLD are very much in that camp and their third release, Planetary Clairvoyance demonstrates a band firing at the top of their game. Arriving merely a year after the solid Manor of Infinite Forms, Planetary Clairvoyance is a monster of a record. From the dense monolithic riffing that has the impact of an asteroid smashing into Earth, with this release TOMB MOLD look set to dominate the next ten years.
69. You Will Never Be One Of Us – NAILS (Nuclear Blast, 2016)
NAILS are not a friendly band. At all. Their first two records pushed grindcore and powerviolence to their limits, and then on You Will Never be One of Us they proved just how much further ahead of the rest of the pack they actually are. The record is over before you know it, clocking in at just 17 minutes long, but jammed into that short time is a collection of songs so angry and vile that it is a shocking time upon first listen. Like we said, this is not a friendly record, but it is bloody good.
68. Behold Sedition Plainsong – DAWN RAY’D (Prosthetic Records, 2019)
Black metal gets a bad wrap thanks to some right rotten apples counted amongst the bunch. DAWN RAY’D are the counter balance to this. Their anarchist leanings give their folk influenced black metal a triumphant vibe, and one that is easily transferred through the epic music of Behold Sedition Plainsong. In between the impassioned cries for uprising, sit some of the most melodically pleasing violins segments you’ll hear all decade, and DAWN RAY’D offer up a sound argument for why black metal shouldn’t be thrown to the wolves as regularly as it is.
67. Wolves Within – AFTER THE BURIAL (Sumerian Records, 2013)
Wolves Within is one of the more interesting metal releases over the last 10 years. Not just because it sounds like the musical equivalent of a bull in a china shop, but because it would lay down the foundation that AFTER THE BURIAL would soon capitalise off. Guitarist Trent Hafdahl puts in a career best performance on the record, with his cocktail of inexplicable shredding and brain crushing rhythm. It’s tracks like Nine Summers, Neo Seoul, and A Wolf Amongst The Ravens that really set this album apart though: fearless, beautiful, harrowing, brutal. It’s undeniably a must listen for any fan of metal and its sub-genre’s in general.
66. Citadel – NE OBLIVISCARIS (Season of Mist, 2014)
NE OBLIVISCARIS first turned heads with 2012’s Portal Of I but it was with 2014’s Citadel where the Aussie sextet fully hit their stride. Combining the brutal elements of death metal with the forward-thinking nature of progressive metal and a healthy dose of classical elements thanks to Tim Charles‘ exquisite use of the violin, the band made major headway with Citadel, one in which established the band firmly on the international stage. An expansive and rich experience, Citadel is an album that will be fondly remembered for putting NE OBLIVISCARIS at the forefront of progressive metal.
65. Enki – MELECHESH (Nuclear Blast, 2015)
The Israeli outfit, located now in Germany, have been depressingly quiet of late – but make no mistake, their latest album, 2015’s Enki, is something special. Staying true to their trademarked brand of blackened death metal imbued with Middle Eastern folk music and Mesopotamian mythology, Enki is a fascinating listen from start to finish, epic in all the right places with maintaining a punishing level of aggression and brutality.
64. Primrose Path – DREAM STATE (UNFD, 2019)
DREAM STATE were already a band that climbed the ranks of musical success. At the end of the decade though they have released an album that has put them so far up the ladder that from 2020 onwards they’ll be hitting some of the big stages. Not only is Primrose Path a clear example of the growth the band have done together, it is one that shows their own personal growth. It’s hard-hitting, and extremely powerful in terms of encouraging people to open up about their troubles in life, it’s one thing creating music about trying times, but it’s another to create a platform to people to talk and that’s exactly what this album has done.
63. Vile Nilotic Rites – NILE (Nuclear Blast, 2019)
NILE’s decade was rocky, to say the least. Two decent, but not exceptional, albums and a flurry of line-up changes saw the band struggle for much of the last ten years. But bringing the decade to a close in spectacular fashion, Karl Sanders and co. came back swinging with Vile Nilotic Rites earlier this year. Here, NILE prove exactly why they are one of the most beloved death metal bands on the planet; grandiose, brutal, and, as always, conceptually fascinating, Vile Nilotic Rites is an incredible return to form from NILE, and easily one of the best death metal albums of the decade.
62. Revelations of the Red Sword – SVARTIDAUÐI (Ván Records, 2018)
One of two near-perfect releases from Ván Records in December 2018, Revelations of the Red Sword was an outstanding return from one of Iceland’s strongest black metal outfits. Icelandic black metal has become one of the genre’s most diverse and exciting scenes in recent years, and SVARTIDAUÐI take their place at the top. Proving that 2012’s Flesh Cathedral wasn’t a fluke; Revelations of the Red Sword is haunting and brutalising in equal measure. The perfect soundtrack to the bleak cold of winter.
61. Nightmare – AVENGED SEVENFOLD (Warner Bros Records, 2010)
Being poster boys for modern metal comes with its pros and cons. Out of all the bands that threatened to do so in the mid 2000s, AVENGED SEVENFOLD are arguably the only outfit that achieved their full potential. As you’d expect, with A7X‘s stardom comes intense scrutiny, sections of the metal community are almost hoping they hit a sonic banana skin at some point. Nightmare played as big a factor in the band’s ascension as anything else released this decade. Its successor Hail To The King was the commercial summoning of the gods – but Nightmare has an unshakeable level of consistency. Nightmare‘s title track has one of the great metal choruses of any time, and the solemn fortitude of Buried Alive and So Far Away as well as the irresistibly stomping Welcome To The Family manage to make this a classic record in its own right. AVENGED SEVENFOLD will continue to spearhead metal for the next ten years, this record is part of the reason.
60. Rituals – ROTTING CHRIST (Season of Mist, 2016)
The musical evolution of Greek extreme metal titans ROTTING CHRIST has been an interesting one to say the least. Surpassing far beyond the typical black metal makeup, 2016’s Rituals is a defiant, organic and fully immersive record, one in which stands as not just one of the finest records in the band’s vast discography, but in extreme music period. From the ritualistic chants of Apage Satana to the primal and gargantuan riffs of Ze Nigmar, Rituals is one of hell of a journey. You’d be a fool to pass up taking a dive into the mysticism.
59. Reign of Suffering – MALEVOLENCE (Siege of Amida Records, 2013)
You can’t think about the fact that MALEVOLENCE were writing Reign Of Suffering when they were teenagers without being anything less than bemused. How a few kids from Sheffield concocted together one of the stand out metal releases of the decade is bizarre, but succumb to the album’s outright ferocity and the band’s age becomes utterly irrelevant. The steel city lads ability to take the stomp, and attitude of PANTERA, and Frankenstein it with the pace, and technical firepower of SLAYER is evident from beginning to end here. 2017’s follow up Self Supremacy is a modern classic in its own right, but few records have shook the foundations, and been at the forefront of a new movement quite like Reign Of Suffering.
58. Veleno – FLESHGOD APOCALYPSE (Nuclear Blast, 2019)
FLESHGOD APOCALYPSE have been crafting a name for themselves as the symphonic band for the extreme fans. Their string sections and twisted piano melodies flutter in between some of the most crushing blast beats and frantic riffs, which this year’s Veleno best encapsulated. Throw in a healthy amount of theatricality and FLESHGOD APOCALYPSE become one of the most consistent and unique bands in death metal. This is music to get the blood pumping through your veins and sweat to pour from your brow thanks to the sheer, tooth grinding intensity they bring to the table.
57. Ascetic Meditation of Death – CULT OF FIRE (Iron Bonehead Productions, 2013)
Whilst Czech black metal outfit CULT OF FIRE still very much exist in the genre’s underground, rather than break out to larger audiences like WATAIN or BATUSHKA, the mysterious collective made a massive statement of intent for black metal album of the decade with 2013’s Ascetic Meditation of Death. Presented entirely in Sanskrit, allowing for the album to enjoyed as one whole body of work, the aesthetic and lyrical content of Hinduism works as the perfect backdrop for the band’s epic black metal. A stunning and expansive release, this record is near-flawless and stands as one of the best black metal albums to be released this decade.
56. Axioma Ethica Odini – ENSLAVED (Indie Recordings, 2010)
In truth, we could probably have picked any album from ENSLAVED released this decade, the Norwegians have been maintaining a jaw-dropping run of good form. But with 2010’s Axioma Ethica Odini, the band perfected the blend of black metal with progressive elements to create a record that enabled the band to go on such a good run. Ethica Odini flies out the traps at rapid pace whilst Herbrand Larsen‘s silky clean vocals counter-balance Grutle Kjellson‘s trademark snarls so effectively, it makes for an emphatic listen. Forward-thinking and ever so progressive, ENSLAVED are one of the strongest bands in extreme music and they have been one of the decade’s most consistent bands.
55. Vertikal – CULT OF LUNA (Indie Recordings, 2013)
Being the band’s first album of the decade and five years since their previous, a lot was expected from the Swedish post-metallers, CULT OF LUNA. Yet even as Vertikal opened up with The One with a bleak ambience and a sense of dread, everything was going to be worth it, this was going to be the album that would catapult CULT OF LUNA from top tier, to God tier. A lot of bands have gained a dedicated fanbase with some album or another, but Vertikal saw the band gain fans, and then a following like very few have seen before. The album is rich with genius creativity and holds that fine line between being a comfort blanket for listeners and having an unsettling edge, something that has made this an album worthy of its status.
54. Sun Eater – JOB FOR A COWBOY (Metal Blade, 2014)
Whilst JOB FOR A COWBOY mainly earned their stripes in the realms of deathcore, it was Sun Eater which propelled them out of the shadows of their counterparts with its progressive experimentation and fearlessly forward thinking pushing the boundaries of their sound. The technical proficiency of bassist Nick Schendzielos provided a particular highlight as it stood proudly as a prominent component of the compositions. It was a shame after such a promising release that it wasn’t followed up but word on the grapevine is that this may not be the final chapter in the book of JOB FOR A COWBOY.
53. Stage Four – TOUCHÉ AMORÉ (Epitaph, 2016)
This record is bathed in sadness. The album tells the heart-breaking story of frontman Jeremy Bolm both accepting the circumstances of his mother’s death, and also recovering from the heartbreak of the situation. The lyrics are honest to a brutal point, and the music matches the tone of the record perfectly, shining a light onto how seamless TOUCHÉ AMORÉ are as a musical unit. Stage Four is an emotional roller coaster that takes catharsis to a new level. For anyone who has experienced the loss of a loved one, this record is made with you in heart.
52. Lawless Darkness – WATAIN (Season of Mist, 2010)
The beginning of the decade saw one of the finest black metal albums come forward. WATAIN‘s Lawless Darkness bolstered the Swedish band into becoming one of the most worshipped bands of the genre this decade. Of course, prior releases helped, but this one had something special about it. It appealed to both dedicated fans of the genre, and some of the more mainstream, it created a unity and helped encourage more people to delve into the more extreme. Not only that, this album gave us one of the most triumphant black metal anthems we have heard; Waters of Ain. The track in itself became a glory all on its own, and with the rest of Lawless Darkness, this album has been an unrelenting force for WATAIN.
51. Get What You Give – THE GHOST INSIDE (Epitaph, 2012)
Though tragedy would eventually strike for THE GHOST INSIDE, 2012’s Get What You Give reared its head at a time where the band were beginning to look unstoppable. It was a record that managed to take the youth infused, Warped Tour scene metalcore which appeared all the rage at the time and blend it with a thumping, omnipresent hardcore heart. It’s a challenge in itself to point a finger at an area of the record which doesn’t stand out in one way or another, if the gang vocal chorus of Engine 45 doesn’t start your blood shaking, then the clean guitar finish of Thirty Three is bound to get you off your seat. The band’s journey back from their horrific bus crash in 2015 is nothing short of awe inspiring. Had THE GHOST INSIDE truly called it a day, you’d be left reeling from one of the great losses to alternative music. Make no mistake; the band’s well being will always come first, but Get What You Give is an example of the fist shaped void the band would leave in melodic hardcore if they called it a day.
50. Deathless – REVOCATION (Metal Blade, 2014)
Considering the impeccable level of quality throughout their career it is almost criminal how overlooked REVOCATION have been. Whilst they have experienced various line-up changes, the driving force in David Davidson has remained a constant and Deathless shines as a particular highlight in their catalogue. Whilst this release started to step away from their earlier heavily thrash influenced instalments it showed a more mature and diverse approach with its enthralling melodies and impressive levels of technical intricacy. The last decade has played a pivotal role in the evolution of REVOCATION and hopefully the next decade will usher in further opportunities for one of the most exciting and innovative bands in metal.
49. Periphery III: Select Difficulty – PERIPHERY (Sumerian Records, 2016)
If you look back through PERIPHERY’s back catalogue, Periphery III: Select Difficulty is arguably the most outstanding piece of work. Soaring, beautiful, haunting and operatic, for a band that many felt were divisive in their use of djent and more modern techniques, songs like Marigold and Absolomb hark more to the work of giants like DREAM THEATER in what they achieve. Huge songs, filled with narrative and musical experimentation, breaking ground between traditional and contemporary sounds, PERIPHERY deserve their place on this list with this crammed album.
48. Winter’s Gate – INSOMNIUM (Century Media, 2017)
INSOMNIUM made their way to the top of the melodic death metal genre through dependability, hard graft and consistency, not flash in the pan hype. Each album was, if perhaps a bit predictable, a masterclass in Finnish melancholy and melodic death metal ferocity. 2016’s Winter’s Gate took the band’s formula and smashed it apart. A one track, 40-minute concept album based on a short story by front man Niilo Sevänen, Winter’s Gate is one of the most ambitious albums of the last ten years – and the ambition paid off.
47. Sonoran Depravation – GATECREEPER (Relapse Records, 2016)
GATECREEPER have done well for themselves over their short life span. Being now considered the next big thing for the genre, the group have clawed their way to this status amongst the scene thanks to an unapologetic approach to writing their death metal. Sludgy grooves, massive, hulking riffs, and breaks of frantic speed make GATECREEPER an exciting listen from start to finish. Sonoron Depravation was the record that not only put them on the map, but also immediately showed them to be the ones to watch. And now look at them.
46. Marrow of the Spirit – AGALLOCH (Profound Lore, 2010)
AGALLOCH had been at the forefront of the American black metal scene since 1995 and although this decade saw the band sadly disband, 2010’s Marrow of the Spirit stands as one of the finest black metal albums of recent times. Expanding upon the folk-laden atmospheric black metal that they had perfected on Ashes Against The Grain, songs like Into The Painted Grey, The Watcher’s Monolith and Ghosts of The Midwinter Fires‘ melancholic charms are the perfect soundtrack to the cold and depressing winter months. A stunning and gorgeous album from a band that are so sadly missed.
45. Exercises In Futility – MGLA (Northern Heritage, 2015)
Few bands in the underground have the same level of pulling power as MGŁA – and this is largely thanks to Exercises in Futility. The Polish outfit have a stacked discography of genre-topping melodic black metal, but it was the 10/10 performance of Exercises in Futility that put the Poles in a place of honour in black metal’s hive mind. Melodic, emotional, visceral and, above all, exciting, Exercises in Futility is composed and executed to perfection. Polish black metal doesn’t have the same clout as its Scandinavian or American counterparts, but MGŁA are keeping the scene alive in the genre’s consciousness.
44. Repentless – SLAYER (Nuclear Blast, 2015)
It’s sad to even comprehend a world which will exist without SLAYER amongst its ranks but all good things must come to an end. Repentless is a fine addition to their already stacked back catalogue. Whilst Kerry King’s guitar solos are still a bone of contention in many circles the dual riff assault of King and legendary EXODUS axeman Gary Holt is joy to behold. Araya’s signature blood curdling screams are just as effective as they were back in the 80s and this release will ensure that their legacy will live on.
43. Disarm The Descent – KILLSWITCH ENGAGE (Roadrunner Records, 2013)
Whilst KILLSWITCH ENGAGE had experienced a fruitful career progression with Howard Jones leading the charge, it was almost inevitable that Jesse Leech would return to the helm of the band which he helped bring to the forefront. Disarm The Descent is everything we could have hoped for as first single In Due Time instantly dismissed any possible apprehension with the band hitting their stride with immediate effect. The two-pronged vocal delivery of Leech joining forces with the irresistible riff machine, Adam Dutkiewicz was a delight to behold and long may it continue.
42. Woe To The Vanquished – WARBRINGER (Napalm Records, 2017)
One of the shining lights of the thrash revival in the 2000s, WARBRINGER sadly imploded in the mid-2010s amid line-up issues and sonic experimentation. However, in 2017, frontman John Kevill brought the band back to thrash metal’s forefront with the incredible Woe to the Vanquished. One of the best thrash albums of the decade, Kevill brought WARBRINGER back with a thirst for blood. From the hook-heavy pit anthems Remain Violent and Silhouettes to the truly epic title track, Woe to the Vanquished is ironclad proof that thrash is alive and well.
41. Hiss Spun – CHELSEA WOLFE (Sargent House, 2017)
The entire decade has seen nothing but doom-ridden greatness from the haunting voice of CHELSEA WOLFE, but out of them all, Hiss Spun is the one that really hit its mark. Not to say that the others aren’t outstanding, because they are, but Hiss Spun just feels that little bit more like it is clawing at your soul. Explaining that some of the songs on the album are almost like a personal exorcism for the remarkable artist, the level of connection that binds listener to music is extraordinary. It is intimate, both lyrically and how Wolfe wraps her voice around a person on this album, it truly is a work of art.
40. At War With Reality – AT THE GATES (Century Media, 2014)
At War With Reality is one of the most iconic death metal albums this decade has seen. Being the first release AT THE GATES had done since 1995’s Slaughter of the Soul, it had big boots to fill, and oh how they filled them and stretched them a little bit more. The album was highly rated throughout most music publications, and became a fan favourite after the anticipation paid off.
39. Skald – WARDRUNA (Indie Recordings/By Norse Music, 2018)
This past decade has seen some incredible music, but one of the most iconic sounds comes from WARDRUNA. Having seen two of the Runaljod trilogy work its magic, a new contender stepped out in the form of Skald. What makes Skald truly exceptional is that is takes the listener out of the usual boundaries that WARDRUNA initially created, and displays an example of true skaldic poetry. The research, dedication and passion that is put into their music alone makes for something out of this world, but this one is so stripped back with Einar Selvik holding the flame that the authenticity is on a whole new level. Skald is beauty at its finest.
38. Mana – IDLE HANDS (Eisenwald, 2019)
Another excellent debut album to make this list, the combination of classic heavy metal with downtrodden gothic rock was done to perfection by this quintet from Portland, Oregon. For a band so early in their career to be writing such bangers as Jackie, Give Me to the Night and A Single Solemn Rose is unbelievable and bodes extremely well for the future, one that has seen them already tour with KING DIAMOND and about to hit the road with MAYHEM. The music might be moody and dark, but IDLES HANDS’ star is already shining very brightly indeed.
37. Where Owls Know My Name – RIVERS OF NIHIL (Metal Blade, 2018)
Progressive metal really grew into its own this decade with a bountiful crop of quality bands pushing the boundaries of what it means to be progressive. And then came RIVERS OF NIHIL. Whilst their previous work certainly struck a chord with prog metal fans, 2018’s Where Owls Know My Name set the band on a meteoric rise up the ranks and opened the band up to a much wider audience. Exquisite guitar-trickery on tracks like Death Is Real or A Home demonstrates that technicality on show is simply sublime with and the inclusion of a saxophone proved to be a masterstroke. A record that that very much embraces the word progressive, Where Owls Know My Name is not just one of the finest albums of the decade, but in progressive metal, period.
36. Hate – THY ART IS MURDER (Nuclear Blast, 2012)
Regardless of a bands’ talent, their window of opportunity is often short, and sometimes, timing is everything. No extreme metal album from the last decade epitomises this concept quite like THY ART IS MURDER‘s Hate. The Aussies had just enough eyes on them from their previous outings that if they landed gold here – they’d be set for at least the next four/five years of their career, no prizes for guessing what happened next. The album will, of course be remembered most fondly for the “You will see the true face of panic!” mosh call on Reign Of Darkness, but even away from the opening track, Hate is extreme metal mastery. To simply label this record as deathcore feels cumbersome, but it’s undeniable that Hate put THY ART IS MURDER at the crown of the genre. If you were to list 20 of the great extreme metal songs of all time, at least three from this record would have a shout at being involved, need we say more?
35. The Flesh Prevails – FALLUJAH (Unique Leader, 2014)
A second album can be a tricky thing, but not in the hands of a band like FALLUJAH. Their push into the big leagues undoubtedly came from The Flesh Prevails, a death metal album steeped in progressive indulgences, is a work of tantalising talent. Bellowing vocals, insane blast beats, whirring guitars all cooked up in a technical marvel that made the wider metal community acknowledge that FALLUJAH mean business. For a record so steeped in the more sophisticated sounds in metal, it’s also a brutal album, but one that it’s afraid to take chances and experiment into other sonic realms.
34. Northern Chaos Gods – IMMORTAL (Nuclear Blast, 2018)
Comeback albums can often fall short, failing to recapture the magic of a band’s glory releases. When IMMORTAL split with iconic front man Abbath, the band’s future was in doubt. However, Demonaz and Horgh put all questions to rest with Northern Chaos Gods. IMMORTAL’s first in almost a decade, Northern Chaos Gods is a triumphant return from one of black metal’s most beloved bands, taking a place of honour in their discography. Let’s just not wait another nine years though, lads.
33. Heartless – PALLBEARER (Profound Lore, 2017)
Perhaps one of the great selling points of Heartless is how openly obtuse it is. This isn’t a record meant for easy digestion or merely background noise. No, Heartless has a depth you can only truly experience when it’s just you at its mercy. With that said though, prog metal rarely lands with the kind of punch that it does throughout this record. The low tuning of shortest track on the album Thorns masquerades as a potential paradigm shift at times for PALLBEARER but normal service is soon resumed on the effervescent one-two of Lie Of Survival and Dancing In Madness. As intentionally challenging to consume as it is, Heartless does a phenomenal job at creating highlight reels inside a cinematic thriller. The story telling of Heartless is subtle, meant to be figured out over a number of listens – you can’t cut to the chase here, and why would you want to? Few records have been more rewarding over the last decade than this tragic, winding road.
32. Surgical Steel – CARCASS (Nuclear Blast, 2013)
The comeback that no one expected, but everyone wanted. CARCASS are extreme metal royalty across the world, and when they proved to be more than just a grind machine on Heartwork and Swansong, they solidified their status as legends of the extreme. Surgical Steel is the result of a band taking time off to recharge, reassess their own sound, and writing a confident amalgamation of death metal, melodic death metal, and that classic grinding noise that out them on the map in the first place. There are few better ways to start an album than the skin shredder of Thrasher’s Abattoir.
31. On Dark Horses – EMMA RUTH RUNDLE (Sargent House, 2018)
Another later release of the decade, EMMA RUTH RUNDLE’s album On Dark Horses was on another level for its sense of profound symbolism. With her previous record Marked For Death already taking her signature post rock sound to another level, it was some huge achievement to top that with the 2018 release. The introspective that EMMA RUTH RUNDLE injects into her work its practically tangible, down to every audible detail. The race that chases through this record is heavy, without ever losing its sense of serenity, its power coming from its honest vocal performance and the continual expanse into more ethereal moments.
30. Koloss – MESHUGGAH (Nuclear Blast, 2012)
As usual, when MESSUGGAH release an album, it’s no time to mess around. Profoundly technical, terrifyingly progressive and at all times, relentlessly hard to keep up with, it’s an absolute delight to be battered around by what MESSUGGAH throw at you. Koloss is no exception, in fact, it’s exemplary of just why this thrashing, progressive monster is on this list. While it’s continuously hard to follow, the polyrhythmic bludgeoning and remorseless guitars in songs like I Am Colossus and The Hurt That Finds You First are MESSUGGAH at their very best. Even the most atmospheric tracks on this record are a harsh reminder that these are technical players of the very best calibre.
29. Everblack – THE BLACK DAHLIA MURDER (Metal Blade, 2013)
THE BLACK DAHLIA MURDER have become one of the most beloved death metal bands of the 21st century. With an almost-faultless back-catalogue, choosing just one of their records for inclusion in the top 100 of the 2010s is a mammoth task in itself. But there can be only one, and Everblack comfortably takes the crown. Perfectly capturing the high-intensity, old-school influenced melodic death metal sound the band have made their own, Everblack saw the outfit reach their song-writing zenith. Bringing a black metal influence in places, Everblack also expanded THE BLACK DAHLIA MURDER’s sound into what we all know and love today.
28. Proponent For Sentience – ALLEGAEON (Metal Blade, 2016)
ALLEGAEON had been maintaining sustained growth this decade but it was with 2016’s Proponent For Sentience where the Colorado shredders hit new and lofty heights. The addition of Riley McShane in the vocal department quite literally breathed new life into the band, with his dynamic range helping the band’s brand of Gothenburg-influenced tech death hit all the more harder. Aside from the massive improvement to the vocals, the melodies of twin guitar harmonies and moments of crushing death metal on this release are absolutely flawless, displaying a band at the zenith of their creative potential. It’s a phenomenal statement of intent from ALLEGAEON and given that on the back of the record’s release, they finally crossed the Atlantic to Europe, it’s fair to say that Proponent For Sentience was really the release that cemented their place in modern death metal.
27. Tū – ALIEN WEAPONRY (Napalm Records, 2018)
There were several things that made this record from the New Zealanders impressive: the ludicrously young age of its members (all between the ages of 17 and 19). The seismic groove and rhythm that ran through every single track present. The blending of English lyrics with ones sung in their indigenous tongue of Maori. It’s no surprise that they were lauded as the highlight of the weekend at Bloodstock Festival in 2018 and were playing to huge fields of people on the main stages of Europe this summer; they’re only going to get better too.
26. Reclaimer – SHADOW OF INTENT (Self-Release, 2017)
Whilst this year’s Melancholy saw SHADOW OF INTENT soar into the spotlight with their symphonic leaning deathcore, 2017’s Reclaimer was very much the record that set the band on their way to smash down the door of the deathcore world. With the Halo universe very much acting as the centrepiece for their brutality, the band’s fusion of orchestral components with razor-sharp technical deathcore worked an utter treat with tracks like The Horror Within and The Heretic Prevails being some of the most jaw-dropping extreme music we’ve heard this decade. It’s a match made in heaven and Reclaimer stands as a record in which demonstrates that SHADOW OF INTENT are one of the finest bands to emerge this decade.
25. Meliora – GHOST (Loma Vista, 2015)
Without this album, GHOST wouldn’t be headlining arenas right now. Meliora was a massive step up from the Swedes in terms of quality and impact, with several of its songs – Cirice, From the Pinnacle to the Pit and Mummy Dust to name a few – going on to become staples in their live shows and massive alt-metal anthems. When they dropped the ridiculously brilliant Square Hammer shortly after, there was no question which direction they were going in; up, up and even further up. Regardless of what happens from now, this is where GHOST truly broke through into the mainstream.
24. Resolution – LAMB OF GOD (Roadrunner Records, 2012)
LAMB OF GOD have been synonymous for their awe inspiring consistency throughout their career and like a fine wine they just keep getting better with age. Resolution is a shining example of this with the likes of Ghost Walking and Desolation becoming some of their fondest setlist staples. Whilst its predecessor Wrath was very melody influenced, Resolution took a more aggressive path with heightened intensity coursing through it’s veins. Whilst this album displayed Chris Adler at his emphatic best it will be intriguing to see what the future holds following on from his shock departure.
23. The Warmth of a Dying Sun – EMPLOYED TO SERVE (Holy Roar Records, 2017)
If Greyer Than You Remember was a sign of things to come from Woking’s EMPLOYED TO SERVE, then The Warmth of a Dying Sun proved everyone right. A truly brilliant piece of hardcore punk, it did much to raise the profile of the young Brits and they were never going to look back from there. Even now, the likes of Void Ambition and I Spend My Days (Wishing Them Away) are nothing short of punishing, helped out by the savagery of Justine Jones’ full-throttle delivery that instantly made her one of the best frontwomen in the industry.
22. Mareridt – MYRKUR (Relapse Records, 2017)
After the release of M, the metal scene went wild for Danish musician and singer MYRKUR. Her second release Mareridt on the other hand, really took everyone by storm. Blurring the lines between black metal and dark folk, she proved with this album that no genre has boundaries, no genre has limits, and that as an artist, she has firmly planted her roots and given herself the ability to grow for the next decade to come.
21. Les Voyages de l’Âme – ALCEST (Prophecy Productions, 2012)
ALCEST had been tinkering with their sonic template for the first ten years of their existence but on third release, Les Voyages de l’Âme, the band struck gold. A musical fusion of shoegaze, post-rock and black metal, their third album was a gorgeous soundscape that was drenched in emotion; from the tear-jerking melodies of Là Où Naissent les Couleurs Nouvelles or the uplifting euphoria felt with Autre Temps, the entirety of this release is a phenomenal listen. The rest of the decade would birth three more albums, cementing ALCEST‘s place on the international stage, but it was with Les Voyages de l’Âme where the band made their statement of intent.
20. Anticult – DECAPITATED (Nuclear Blast, 2017)
DECAPITATED have almost had their career unceremoniously derailed on a variety of occasions. From the horrific bus crash which resulted in the tragic passing of drummer Vitek to the backlash which was received following on from their Carnival Is Forever album they have not been without their share of unfortunate times and lesser bands would have crumbled in the aftermath. Vogg refused to let two decades worth of blood, sweat and tears fade into the darkness as the band came firing on all cylinders with two stunning albums in the form of Blood Mantra and the proceeding Anticult. Whilst not being as technical as the likes of debut Winds Of Creation, these albums still possess the bludgeoning heaviness we had come to know and love from the Polish trailblazers and Anticult in particular proved to be their finest work to date. From the devastating riffs of Earth Scar to the pummelling drum work of One-Eyed Nation, Anticult is a relentless assault on your senses which stands tall and firmly cements their legacy as one of the most inventive bands in the world of death metal.
19. Litourgiya – BATUSHKA (Witching Hour Productions, 2015)
Let’s avoid the recent drama for a moment, shall we? Instead, let’s take a minute to revisit the incredible moment BATUSHKA’s Litourgiya was first unleashed upon the masses. On paper it is utter madness – an anonymous Polish black metal band, using Russian Orthodox Christian chants and music, signed to a label that has a questionable reputation at best. By all rights, Litourgiya should have been a mess. But reality is stranger than fiction. BATUSHKA’s debut was far from a mess. It was, in fact, one of the most incredible releases of the entire decade.
The song-writing chops of BATUSHKA’s mastermind Krzysztof Drabikowski show themselves in abundance throughout Litourgiya. The live shows are an interesting spectacle, but gimmicks will only take you so far. It was the utter brilliance of Drabikowski’s blending of Orthodox music and wonderful Polish black metal that took BATUSHKA to great heights. A modern masterpiece.
18. Sempiternal – BRING ME THE HORIZON (RCA Records, 2013)
Sempiternal is an album that created a divide in the rock and metal scene. We could already hear the lighter side of BRING ME THE HORIZON breaking through into their sound, but Sempiternal was where they really pushed it out. Half said it was an abomination, the other half said it was the best album of the year, and because of the controversy surrounding it about their sound, it became one of the most talked about, leading to what was only going to be success. Despite creating that divide in the rock and metal scene, it created a unity between the alternative and mainstream and that is something that can’t be ignored or frowned upon. Since Sempiternal the band have hit the highest heights they have possibly seen and it has put them on a radar to become future festival headliners and arena sell-outs. So, despite your opinion on the album or band, what this album has done within the scene is without a doubt off the scales.
17. Phantom Antichrist – KREATOR (Nuclear Blast, 2012)
German legends KREATOR are one of the best thrash outfits of all time. This is a clear objective fact. Since the turn of the century, the band have expanded their sound from balls-to-the-ball brutality to a more melodic, expansive sound, while retaining their trademarked aggression. Their 13th full length, Phantom Antichrist, isn’t just their best album this decade – it’s one of their career highlights.
Epic has become a hyperbolic term in relation to new records, but Phantom Antichrist really is epic in the truest sense of the word. IRON MAIDEN-esque melodies run through the record, juxtaposing KREATOR’s classic brutality wonderfully. Phantom Antichrist is, from start to finish, crammed with hooks, scream-a-long moments and live favourites – but this isn’t a sign of mellowing as the band approach their fourth decade of existence. From Flood into Fire, Civilisation Collapse, Death to the World, The Few, the Proud, the Broken and the title track are all instantly memorable, while United In Hate is a visceral blast of classic Teutonic Thrash and Your Heaven, My Hell is a softer wildcard. Phantom Antichrist takes its place as one of the best thrash albums of all time, standing strong in KREATOR’s discography and holding its own against many of the classic 80s offerings.
16. Diamond – STICK TO YOUR GUNS (Sumerian Records, 2012)
STICK TO YOUR GUNS had already established themselves as underground favourites prior to Diamond thanks to their still excellent Hope Division record. Keeping in the theme of self-help, self-realisation, community, and forging towards a better world, Diamond not only served as a quality album of music, but for many also served as a gospel for a better life. Tracks like Built Upon the Sand, D(I Am)ond, Against them All, and Such Pain all carried the same message of looking inwardly in order to do better outwardly. Combined with an incredibly healthy dose of looking out for your fellow brothers and sisters and Diamond became the mouth piece for a number of hurting and lost kids. This is an essential album in a decade unfortunately punctuated with a rise of social anxiety and mental health issues amongst the youth, and it offers its uplifting message in a package of melodic hardcore mastery. Big choruses are next to even bigger breakdowns, and the passion that billows forth from each song is tangible and invigorating.
15. Rheia – OATHBREAKER (Deathwish, 2016)
Let’s step outside of the last 10 years for a brief moment and instead ask something wider: how many albums have sounded like Rheia… ever? The list is paper thin. Sounding like an even more acidic ROLO TOMASSI, OATHBREAKER become much more than a band on this record, instead they make steps into otherworldly territory. The transition from 10:56 into Second Son Of R is a painfully flamboyant example of what is about to follow over the next eight tracks, but still – nothing can quite prepare you for it.
The band’s radio silence since the record was released often steals headlines, but don’t be sucked in. This is a metallic hardcore album that undoubtedly opened the doors for the likes of EMPLOYED TO SERVE and CONJURER to make the genre seem like a legitimate metal movement. The nigh-on 16 minute one-two of Where I Live and Where I Leave sums up Rheia with a fine liner: part ferocious, part hauntingly solemn. OATHBREAKER spend over an hour here leaving you in emotional disarray, and yet – you can’t quite force yourself to press pause. One of the most interesting, dark records of the decade: strap yourselves in for this one.
14. Shaped By Fire – AS I LAY DYING (Nuclear Blast, 2019)
The story of this band has been etched into the very bedrock of alternative music history. Tim Lambesis did try to get his wife killed yes, but he also served his time and is a vocal advocate for rehabilitation and living the consequences of your actions. With countless shows being shut down, and numerous naysayers all spouting what they think to be decent arguments against AS I LAY DYING making such a thunderous return, it really doesn’t stop Shaped By Fire being one of the most righteous and uplifting albums of the decade, let alone the year.
With lyrics that, in no uncertain terms, cover the inner feelings of Tim both before, during, and after the ordeal he put himself and his family through, tracks like Blinded, My Own Grave, and the impassioned title track all look into the themes of forgiveness of the self, and the acceptance that forgiveness from others is earnt, as opposed to given. It doesn’t take a rocket scientist to delve into the incredibly raw atmosphere of Shaped By Fire, but those who take the time will find a well written, passionate, and sometimes moving record that also packs a monstrous punch from start to finish.
13. Jord – MØL (Holy Roar Records, 2018)
When you consider the movement of metal over the years, you could argue that MØL have been a breath of fresh air to the metal scene. At the end of the decade, Jord is one of the late comers to this list, but was more than enough impact to warrant it’s place here. Calling this album “just shoegaze” is a massive oversimplification of what it represents. Jord takes the blackened metal aspect of the MØL and fills it with such melancholy, that the contrast between the sounds and the heart of the message feels deftly done. Exploring human morality and our place within the universe, as our fate is ultimately decided, in layered expansive soundscapes of true beauty. A massive expanse of ethereal guitars, relentless drums and dynamic shifts, it’s an album that wants you to think. Think about the music, think about yourself, think about people. There’s more heart in the expression of the songs on Jord than on a huge amount of music released this decade. It’s hopeful, and yet doesn’t shy away from our lowest failures as a species, wrapping that all up in a package of gorgeous musical movements and powerful vocals.
12. Monolith of Inhumanity – CATTLE DECAPITATION (Metal Blade, 2012)
Trying to pick your favourite CATTLE DECAPITATION album of the decade is like trying to choose your favourite child but Monolith Of Inhumanity was one of the main catalysts which sparked their stunning run of form with its utterly savage approach to song writing as well as the emphatically gruesome imagery that came in tow. It has been seven years since the release of the video for Forced Gender Reassignment and it will definitely still be ingrained in the minds of anyone who has been blessed with its ever so slightly ‘not safe for work’ content. This was also the album which witnessed the beginning of Travis Ryan’s vocal experimentational evolution as he introduced more melodic styles into his already weaponised range.
11. The Sin and the Sentence – TRIVIUM (Roadrunner Records, 2017)
TRIVIUM has come in many shapes and forms throughout their career, spanning from the metalcore darlings which rose to prominence in the early 2000s up to present day with arguably their strongest release to date The Sin And The Sentence. This album was particularly impactful as it saw the return of Heafy’s signature growls combining forces with the technical acumen of drummer Alex Bent to assist in bringing crushing levels of heaviness which we have not experienced in their tenure. Tracks such as The Revanchist expertly straddled the line between scintillating melodies and a distinct viciousness not present in previous releases. This album also saw them up their game with regards to their fearless approach to song writing, not afraid to dabble in the progressive realms to add another string to their already diverse bow. Judging by their usual album cycles we could be gearing up for the hotly anticipated follow up next year.
10. Forever – CODE ORANGE (Roadrunner Records, 2017)
There’s an argument to be made that no record in the last decade landed with the same impact as Forever. It turned CODE ORANGE from alternative metal hopefuls to future weight bearers of the entire genre overnight. Nothing spells musical dread out to the same level as the haunting, spoken word opening to its title track, just like nothing gives as much charisma to violence as the scorching Spy. There wasn’t a corner of metal that didn’t have the band at the forefront of their lips; CODE ORANGE quickly became a movement.
A breathing smorgasbord of metal influences, Forever has as much to do with NINE INCH NAILS as it does EMPLOYED TO SERVE and KNOCKED LOOSE. But most interestingly enough about the record is its bravery – the addition of Bleeding In The Blur could well have been a banana skin for the album: instead it’s one of the great rock songs of, well, any decade really. And that’s what’s most exciting about CODE ORANGE going forward – no one has a clue what the next record could sound like. Whatever the case may be, few bands are being watched as intently as this five piece, and for that, they have Forever to thank.
9. Animus – VENOM PRISON (Prosthetic Records, 2016)
British metal really came into its own in the latter part of this decade and VENOM PRISON are one of the scene’s frontrunners. Animus, their debut outing, took the moshcalls of hardcore with the brutality of death metal to create a soundscape that is utterly monstrous. The music itself is heavy as hell and with Larissa Stupar, she established herself as one of the best vocalists in extreme music right from the get-go. Desecration of Human Privilege, still a staple of their live set today, is the epitome of what VENOM PRISON are gunning for whilst Abysmal Agony‘s three minute adrenaline surge ensnares your attention throughout. Given just how quickly VENOM PRISON have soared up the ranks, Animus is to thank for that. Whilst Samsara has seen the band develop and refine their sound to a greater extent, the raw and primal energy that Animus displays captures the very essence of VENOM PRISON‘s aural assault. For a debut effort, this album is up there with the very best this decade.
8. Ire – PARKWAY DRIVE (Epitaph, 2015)
When PARKWAY DRIVE unleashed Atlas in 2012, as unabashedly forceful as tracks like Wild Eyes, Dark Days, and Swing were – you got the feeling: they might have taken metalcore as far as they possibly can. You’d have been right too, three years later and the Aussies had taken their blueprint and added enough twists and turns to give them a refreshed identity, not a million miles away from familiarity; but still something new.
In hindsight, Ire was the record that catapulted the band to another level, classic PARKWAY tracks like Carrion, Sleepwalker, and Idols And Anchors were already filling academies. But the heaving choruses of Vice Grip, Crushed, and Bottom Feeder proved to be the wind the bands sails needed to move to the next step. Ire takes the brutality you always crave for in the five piece and adds a slab of straight up rock n roll to its backbone to create a free flowing rhythmic brute of an album. As most great records tend to, its existence divided fans, but no one can dispute that way without Ire, PARKWAY DRIVE would not be the arena band that they are today.
7. Sundowning – SLEEP TOKEN (Spinefarm Records, 2019)
SLEEP TOKEN‘s masked, anonymous mystique has been perfected over the last two years in such a way that although they’re not the first band to ever attempt some of their outlandish tropes – they feel like the most unique. From reportedly not even their management knowing what the members actually look like, to every single track from debut album Sundowning being released every second Thursday at sundown up until the release date of the record: this band are something different.
It’s quite a statement then to suggest that even if you removed this fascinating anonymity – Sundowning would still go down as one the great debut albums of any decade. To even attempt to label the record with a genre would seem like sacrilege, this is ethereal beauty played out over twelve tracks of heartache, hope, and loss. How could you even try and pick apart the bones of this album? Sundowning is one of the few experiences of any decade in music where you just have to sit and experience it for yourself. The sonic bravery of TOOL fused with the flamboyance of THE PET SHOP BOYS (no seriously) – sit back and enjoy the ride.
6. Mire – CONJURER (Holy Roar Records, 2018)
In the last few years, Holy Roar Records have become a leading light in the discovery of truly brilliant metal and alternative music from our own country and abroad, but when Mire was released in February 2018, nobody would have guessed just how much the stock of CONJURER from Coventry would rise over the next two years. A bruising collection of songs that take in the likes of thrash, sludge, doom and death metal before mixing them all together, it has led CONJURER up the tree to firmly becoming the jewel in Holy Roar’s rather extraordinary crown. Opening song Choke is unforgiving in every respect, never losing its raw power no matter how many times one listens to it and the production job is so barren that the bleak, harsh landscape CONJURER create in the space of forty-five relentless minutes is chilling and captivating in equal measures. Don’t be surprised if their sophomore release, due next year, makes it into this list when the end of 2029 rolls around…
5. You Are We – WHILE SHE SLEEPS (Sleeps Brothers, 2017)
Brainwashed might have been the heavier album, but in You Are We we saw a band rise through the ranks so impressively that for a while WHILE SHE SLEEPS were the best metal band in the UK. Taking everything they’d learned previously and giving it a metalcore sheen that made everything sound ten times bigger, the boys from Sheffield were absolutely battering down barriers and leaving the rest of their competitors trailing in dust. Whether it was the gang vocals in Settle Down Society, the inspired trade-off between vocalist Loz Taylor and BRING ME THE HORIZON frontman Oli Sykes on Silence Speaks or the huge chorus in Empire of Silence, with every day that passed so did a new favourite song on the record. Things might have gotten more lukewarm with the patchy SO WHAT?, but there’s no denying what WHILE SHE SLEEPS are capable of, and they showed it no greater than this belter of a record which will stand tall for years to come. If they can replicate the work done here on the next album, there won’t be so much as a shard from the glass ceiling left.
4. Nightmare Logic – POWER TRIP (Southern Lord, 2017)
POWER TRIP are currently fronting a true revival of thrash metal, and Nightmare Logic is one of the resounding successes of this revival. Where their Manifest Decimation debut scrapped with the best of them, it still felt lacking in certain areas that ultimately prevented it from reaching the heights this record did. Executioner’s Tax (Swing of the Axe) smashed the door down with it’s chugging patterns and intense energy, and then the rest of the album simply piled in as well. Crucifixation is a rambunctious time and Firing Squad is one of the most white-knuckle rides of the entire decade. The title track boasts its own reasons to steal the spotlight, and the socially aware musing on If Not Us Then Who prove that POWER TRIP have a lot going on between their ears. This album felt like a throw back to when thrash metal was an exciting alternative to everything else, and POWER TRIP embody the punk rock, anti-authoritarian attitude of the early genre better than anyone on the scene.
3. Magma – GOJIRA (Roadrunner Records, 2016)
The rise of GOJIRA has been a ride without doubt. Many who’s heads were turned by their earlier work saw the band go from strength to strength, and their climactic moment came in 2016, with Magma. An album with am emotional core, written and recorded around the grief of the Duplantier brothers, it’s a real experience that finally solidified them as one of metal’s great achievements. GOJIRA have created such a warm reception to their work, songs like Silvera and Only Pain bringing you in with big hooks and experimental guitar sounds and making you stay for the gravel-barked vocals and poignant lyrics. There are the trademark blistering drum parts that seem completely unparalleled in the scale of groove and complication from Mario Duplantier, the range from atmospheric and progressive to technical death metal with such passion that no song ever feels like a dull moment. Magma is a coming together of all of GOJIRA’s best qualities, dark and emotional, but positive in its overall outlook. That’s what makes GOJIRA so unique, they are so welcome in so many areas of the metal community, but create a space all of their own. Truly, Magama is a triumph of some of the best world this legendary French powerhouse has delivered.
2. Holy Hell – ARCHITECTS (Epitaph Records, 2018)
ARCHITECTS had been on solid trajectory to dominate British metal with the release of 2016’s All Our Gods Have Abandoned Us but the tragic passing of founding member Tom Searle months after the record’s release seemed inevitable to spell the end for the band. And if it had been the end of ARCHITECTS, few could complain given the circumstances. That is why Holy Hell is such a magnificent triumph. Channelling the grief, sorrow and pain of their fallen comrade, Holy Hell is not just a perfect tribute to Tom Searle, but a defiant statement from a band who have overcome more odds than any band could ever face. From the moment Death Is Not Defeat erupts in emphatic fashion, Holy Hell takes you on a journey that is equally uplifting as it is painfully emotional. This is one of the decade’s most incredible albums, hands down.
1. The Satanist – BEHEMOTH (Nuclear Blast, 2014)
It couldn’t be anything but The Satanist, could it? A triumphant comeback after Adam Darski’s battle with leukaemia, The Satanist was the most anticipated album of the early 2010s – and it more than delivered on expectations. Coming half a decade after BEHEMOTH’s incredible Evangelion, The Satanist took the Polish outfit from underground darlings to festival headlining, well, behemoths.
But The Satanist isn’t ranked here solely for its role in propelling BEHEMOTH to the top of the extreme metal scene. Even a quick run through the record today shows exactly why it was so beloved upon its release, and it has aged incredibly well. Blow Your Trumpets Gabriel still makes the hair on the back of your neck stand up with its ominous opening and Messe Noire is haunting in its brutality. Meanwhile, Ora Pro Nobis Lucifer has become a permanent fixture in BEHEMOTH’s live set with its anthemic, blackened assault. Ben Sahar is punishing with dark, blackened grooves and closing moment O Father O Satan O Sun! is a beautiful example of Nergal’s dark poetry. Complete with bluesy leads, archetypal BEHEMOTH brutality and stunning creativity, The Satanist remains to this day a mark of how imaginative and boundary pushing black metal can be.
Words: James Weaver, Jessica Howkins, Fraser Wilson, Eddie Sims, Laura McCarthy, Dan McHugh, Elliot Leaver & Kris Pugh
