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519 reviews/ratings
SLAYER - Show No Mercy Thrash Metal | review permalink
SLAYER - Hell Awaits Thrash Metal | review permalink
SLAYER - Reign in Blood Thrash Metal | review permalink
SLAYER - South of Heaven Thrash Metal | review permalink
FATES WARNING - Perfect Symmetry Progressive Metal | review permalink
EXODUS - Bonded by Blood Thrash Metal
QUEENSRŸCHE - Rage For Order Heavy Metal
KREATOR - Terrible Certainty Thrash Metal
SLAYER - Haunting the Chapel Thrash Metal
QUEENSRŸCHE - Operation: Mindcrime Progressive Metal | review permalink
CORONER - No More Color Technical Thrash Metal
SODOM - Agent Orange Thrash Metal
KREATOR - Extreme Aggression Thrash Metal
MORBID ANGEL - Altars of Madness Death Metal | review permalink
ANACRUSIS - Reason Thrash Metal
DEATH - Spiritual Healing Death Metal
SLAYER - Seasons in the Abyss Thrash Metal
METAL CHURCH - Metal Church US Power Metal
POSSESSED - Seven Churches Death Metal | review permalink
WATCHTOWER - Energetic Disassembly Technical Thrash Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Heavy Metal 142 2.42
2 Thrash Metal 90 3.23
3 US Power Metal 36 2.88
4 Hard Rock 28 2.07
5 Speed Metal 24 2.77
6 Power Metal 19 2.82
7 Traditional Doom Metal 18 2.33
8 Death Metal 17 3.29
9 Proto-Metal 16 1.69
10 Technical Thrash Metal 14 3.00
11 Neoclassical metal 13 2.62
12 NWoBHM 13 2.42
13 Hardcore Punk 12 1.54
14 Black Metal 11 2.50
15 Progressive Metal 11 3.00
16 Funk Metal 8 1.75
17 Industrial Metal 7 1.36
18 Alternative Metal 6 1.33
19 Crossover Thrash 5 2.00
20 Metal Related 4 1.00
21 Heavy Psych 3 1.83
22 Grindcore 3 0.83
23 Death-Doom Metal 3 2.00
24 Glam Metal 2 1.25
25 Goregrind 2 1.25
26 Groove Metal 2 2.25
27 Doom Metal 2 3.00
28 Sludge Metal 2 1.00
29 Rap Metal 1 1.00
30 Viking Metal 1 3.00
31 War Metal 1 2.00
32 Stoner Metal 1 1.50
33 Deathgrind 1 3.00
34 Avant-garde Metal 1 2.00

Latest Albums Reviews

ENTOMBED Left Hand Path

Album · 1990 · Death Metal
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Good god. Death Metal was born in the late 80’s, but most of that stuff isn’t a huge leap away from extreme Thrash and Black metal of the same decade. Even the albums that had broken from carrying clear Thrash influence still sound like a genre in development. This beast sounds like it could have been released yesterday.

Entombed took one step back and two forward. They slowed down a bit, and instead of trying to outdo their peers with technical prowess or blistering intensity, dug themselves a grave and adopted a truly sepulchral sound. Insanely downtuned guitars with a sludgy buzz sound like they’re cutting through a murky swamp, while the rhythm section lays tight and varying beats that pound at a steady mid-tempo (by extreme metal standards). The vocals are the deepest growls laid to record by 1990, and there is a very cold, grave atmosphere that runs somewhat contrary to the genre’s roots in hellfire. The blue cover could play into this as much as the band’s icy homeland – but this is unmistakably the closest to true, cold death that Death Metal had ever gotten at the time


Album · 1990 · Power Metal
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Painkiller. I don’t think anyone saw this coming from Judas Priest, one of the tamer metal bands, some 20 years into their career. I can’t imagine the insanity this caused when it dropped in 1990.

I can only look at it now. And now even now, it remains an absolute beast of melodic Speed Metal with more than a few of the genre’s most memorable riffs ever put to record. Halford’s iconic voice becomes a shredding cry here on a much different level than he had ever done before. The drumming flows into Power Metal territory with its constant double bass pummeling, and the guitars weave intense melodies that flirt with Thrash but lean more towards epic stylings rather than dark. And yet, the music and vocals are very aggressive, but almost upliftingly so. Perhaps triumphantly is a better word, as this album is a remarkable triumph of metal and indisputably Judas Priest’s finest hour.

MEGADETH Rust in Peace

Album · 1990 · Thrash Metal
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Nothing Megadeth did in the 80’s really struck me as all that amazing (no, not even Peace Sells…) but Rust in Peace is almost as incredible as the legends tell.

Megadeth has long avoided my praise due half to Dave’s poor vocals and lyricism and half to the total absence of real feeling in the otherwise impressive playing. Here, the band improve their already strong technique to enter Tech Thrash territory at times, but much more importantly they add a heavy dose of intelligent and evocative melodies that serve the song instead of simply showcase talent. The first few tracks have earworm riffs for days, just galloping one after another, only stopping for equally fantastic solos.

Dave’s vocals aren’t good here, however, he has found the sweet spot in making them work with the music, and most of the time they work really well. Holy Wars is the best example, as he switches between angry snarling about government, to a rough, desperate croon that actually sounds pained when playing the role of The Punisher lamenting what he’s been through. His voice doesn’t always hit right, but here it works much better and more often than anything they’d done prior. The lyrics range from very good to not so great, but they almost always manage to be better than the shallow words of their 80’s output.

There’s so much energy and good technique that even the weaker songs on the album are quite good. However, it is certainly a glaring weakness that side A is so, so much better than side B. Once you get halfway through, you’ve very little to look forward to in comparison of the awe-inspiring material that starts you off. In terms of high points though, this album reaches heights that are absolutely deserving of its praise.

BATHORY Hammerheart

Album · 1990 · Viking Metal
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Bathory (Quorthon) is the type of band that is always innovating. They managed to invent 2 completely original styles of metal, Black Metal with 1984’s Bathory, and Viking Metal 6 years later on Hammerheart. They toyed with this style on 88’s Blood Fire Death, and finally the genre came into fruition here.

While this album is amazingly unique for its time, I do find a slight step down from Blood Fire Death, which is odd because the bookend Viking Metal tracks of that album were my favorite. It turns out, slower paced epic Viking Metal doesn’t feel as powerful without a ton of Blackened Thrash pummeling you in between. Hammerheart has some truly epic songs that amaze (One Rode to Asa Bay is a masterpiece) but the majority of the material doesn’t leave me in the same awe as say, Blood Fire Death or A Fine Day to Die. Since this album is much more uplifting and much less dark, the riffs aren’t really evil or sinister; rather, they are just there. In all honesty, I can’t remember any notable riffs off the album, as it puts much more emphasis on atmosphere and Quorthon’s vocals. The rhythm section is slow and monotonous, but it does create a martial mood befitting the themes.

Off of those notes though, this is still a fantastic album, and Quorthon’s vocals are actually quite awesome. He’s evolved from a pure Black Metal shriek to what sounds like a haggard yell very capable of hitting and holding notes, which was necessary to make the jump from Black to Viking Metal. The atmosphere is effective and the backing vocals provide a great sense of grandeur to the whole package. The songs individually are not always Bathory’s greatest, but the album as a whole works very well due to these connecting themes.


Album · 1990 · Traditional Doom Metal
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Trouble’s self-titled is considered the band’s best work, but I consider it a large step back. To be clear, it’s still one of the best Trad Doom albums of its era, but that’s partly the problem. The Skull and Run to the Light were making bounds and leaps towards true Doom – the depressing, emotional atmosphere, the crushing riffs… They were certainly the closest the 80’s came to true Doom, and they were masterpieces.

Trouble is simply the band falling back into groovy Trad Doom territory. The progress of their last few albums is thrown aside in favor of a more “fun” traditional album. The songwriting is simplified, and there’s more focus on vocal melodies. Lyrics tend to be somber, but the delivery isn’t. In fact, it sounds like the band’s having a great time. Good for them, but I don’t want my Doom to sound like that!

All those gripes aside, I have to reiterate it’s probably the best pure Trad Doom put to record by the turn of the decade. Songs are interesting, varied, and fun. Eric Wagner sounds better than ever, though I prefer his more desperate delivery on earlier releases.

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