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Emperor (Black Metal)

Sothis (Black Metal)

Zyklon (Death Metal)

Immortal (Black Metal)

Old Man's Child (Black Metal)

Dimmu Borgir (Black Metal)

Kalmah (Black Metal)

Abgott (Extreme Black Metal)

Death (The Father Of Death Metal R.I.P. 'Evil Chuck' Schuldiner)

Slayer (Thrash Metal Legends)

Odious Mortem (Death Metal)

Prostitute Disfigurement (Death Metal)

Impaled (Death Metal)

Illogicist (Death Metal)

Decapitated (Death Metal)

Aborted (Death Metal)

Visceral Bleeding (Death Metal)

Ulcerate (Death Metal)

Dying Fetus (Death Metal)

Anata (Death Metal)

Emeth (Death Metal)

Ruins (Extreme Black Metal)

Sickening Horror (Death Metal)

Sleep Terror (Progressive Death/Jazz Metal)

Hour Of Penance (Death Metal)

Deadborn (Death Metal)

Disavowed (Death Metal)

Vader (Death Metal)

Krisiun (Death Metal)

Misery Index (Death Metal)

Neuraxis (Death Metal)

Vomitory (Death Metal)

Heathen Shrine (Blackend Death Metal)
Poll
What is your Favorite Genre of Metal?
 
 
  • Vogg of Decapitated offers update
    To all Decapitated fans: I would like to inform everyone interested in knowing about the status of the band that we are on indefinite hiatus for now. It is too early to continue or try to continue without Vitek and/or Covan at the moment. Regarding Covan. He’s recovering now and needs all the time in the world [...]
  • Psycroptic Sign With Nuclear Blast
    Nuclear Blast Records has announced the signing of the Tasmanian technical death metal band Psycroptic. Nuclear Blast’s U.S. A&R representative Gerardo Martinez stated about the signing: “We are beyond excited to be working with one of the best technical death metal bands in the world right now! We feel the band will reach the status [...]
  • ZYKLONs longtime axemeister Destructhor joins Morbid Angel
    Metal Hammer writer Joel McIver reports that the new guitarist in Florida death metal legends Morbid Angel is none other than ZYKLON’s longtime axemeister [...]
  • Mike Smith (Suffocation Drummer) hired for studio project
    Louisiana based experimental project “Psychometry” has hired the services of Suffocation drummer Mike Smith to perform and record on their upcoming Album “The Four Points”. Psychometry is an atmospheric, melodic metal band made up of professional musicians experienced in several different styles of music. The project ranges from symphonic, classical, electronic, as well as extreme [...]
  • Romain Goulon joins Necrophagist
    Romain Goulon joins Necrophagist as the official new drummer. The band and Romain look forward to working together on the new album. Meanwhile, check out a video of Romain playing to guitar tracks from the album “Epitaph” at Necrophagist’s official YouTube channel: http://www.youtube.com/NecrophagistOfficial The band wants to thank ‘human metronome’ Marco Minnemann for playing drums on last [...]
  • Morbid Angel is accepting guitar tryout vids seeking their new guitarist to team up with TREY!!!!!
    Hey Everyone!!!! Sorry that im never on here but I been busy with music and band stuff. I wanted to post this message for all the people making Morbid Angel guitarist tryout vids for youtube, etc. First I wanna say THANX!!!!! to everyone taking any time to make some vid of them playing the songs!!!!! Its amazing to see [...]
  • Michael Amott reports from Carcass rehearsals April 2008
    Dear Carcasses! Firstly, I?d like to thank all the people who have been posting comments and sending messages since we announced the reunion. I can tell you that we feel very inspired by your enthusiasm and excitement for the shows this summer! Also, special thanks to the lovely Kristelle for designing and maintaining the only official Carcass MySpace [...]
  • Cryptopsy Broke Up?
    Montreal’s CRYPTOPSY has revealed that they have decided to postpone all future CRYPTOPSY performances and the release of the group’s forthcoming album, “The Unspoken King”, Drummer Flo Mounier had this to say: “Due to the current circumstances of the fans being unable to comprehend our new material, we have decided to call it quits. It should [...]
  • Origin - Antithesis 04/01/08 - One of the Most Anticipated Death Metal Album Releases of 2008!
    Thats RIGHT! Origin has the recording and mixing done for their new album Antithesis! Expect some face melting guitar riffs/sweeps cause Origin is one of the craziest death metal bands to date! Death Metal Hails, and 100% unending support for ORIGIN!!! -Admin
  • Opeth - Watershed 2008
    “the album is done, mixed and all. I’m listening to it right now….! I want to boast, but I’ll keep it together and do it later instead.” “Watershed” is the name of Opeth´s 9th studio observation. The album has just been mixed and mastered by Jens Bogren with M. Åkerfeldt. The album consist of 7 songs [...]
  • Lamb of God
    Lamb of God are part of a recently burgeoning scene intent on bringing back the heaviness and brutality that once marked metal but has been worn down by several years of nu-metal, melodic metal and the current plethora of supposed metal bands that actually play post-grunge, namely Saliva, Staind, Linkin Park, etc. To their credit, Lamb of God do a good job of doling out genuine death metal with guitar riffs that are not too overly complex, vocals that are the requisite combination of growling and shrieking and violence as the subject of many of their songs. What's incredible is they manage to pull all this off despite the fact that they are on a major label. The band formed in Virginia in 1998, toured constantly and put out a pair of well-received records on indie labels. They were signed to Epic in 2003. - MMCGUIRK
  • Bring Me The Horizon
    Formed in 2004, this Sheffield, Yorkshire, England quintet took its name from a line in Pirates of the Caribbean and its sound from American hardcore and metal. Combining the elements of straight-edge hardcore, primitive '90s metalcore, and death metal, BMTH fused their own brand of crushing music that got the attention of the music industry. After releasing their debut album only in the U.K. in 2006, the band -- Oliver Sykes (vocals), Lee Malia (guitar), Curtis Ward (guitar), Matt Kean (bass), and Matt Nicholls (drums) -- was voted Best Newcomers by Kerrang! Magazine, and the media frenzy ensued. They quietly re- released the album in the United States a year later, but it wasn't until Epitaph Records released 2008's highly anticipated second full-length Suicide Season following their stint on the 2008 Vans Warped Tour that BMTH became a force in the States. - JGUYRE
  • In Flames
    Along with At the Gates, In Flames rule the fertile Swedish metal scene with an iron fist. Darkened keyboard introductions lay an ominous feeling of dread over your soul, but come nowhere near preparing you for the coming assault. Seemingly without warning, frantic guitar riffs explode with feverish intensity and lightning speed. Soon maniacal shrieks join the battle with merciless intent, growling truths that are hard to deny. Given the dramatic guitar work and structural complexity of the tunes, one would expect the lyrics to be drenched in myth and fantasy. While certainly melodramatic, the lyrics tend to focus more on personal issues than theatrical excess, lending the tunes an emotional authenticity and urgency rare in black metal. In Flames' epic style owes quite a bit to the seminal work of Iron Maiden, but reaches heights of speed and depths of evil that Maiden have yet to approach. Fierce stuff. - Doug Russell
  • DevilDriver
  • Opeth
    Sweden's Opeth specialize in doom-laden, downtrodden epics that combine elements of '70s Progressive Rock, melodic Death Metal, and Scandinavian folk music. Their songs move through blazing Metal sections, somber acoustic guitar picking, classical piano interludes, and majestic dual guitar harmonizing -- often without revealing any discernible underlying theme until, say, the tenth listen. Songs run in the ten minute range (though twenty isn't out of the question), with very little repetition. Listening takes patience, for one thing, as well as a fondness for the cold, dark gray atmosphere and borderline self-pitying sense they exude. Then there are the vocals, which alternate between deep growls that could send a bear cowering back into his cave, and clean, melodic singing that could put a crying baby to sleep within seconds. Clearly, this band isn't for everyone, but they haven't become one of the most talked about underground Metal bands of the last five or ten years for nothing. - Will York
  • Children of Bodom
    One of the biggest metal bands to come out of Finland, Children of Bodom bang out heavy but melodic death metal with synthesizers playing a major part in the music -- which isn't a bad thing at all, as songs are suitably brutal, with wriggling guitar riffs and pit-of-hell wraith-vocals. At their best, Children of Bodom sound like Ram It Down-era Judas Priest mixed with Celtic Frost. The name comes from a notorious, as-yet-unsolved 1960s mass murder near their hometown of Espoo, Finland, in which three teenage campers were brutally killed. The band's 1997 debut, Something Wild, sparked international fame for them, and they've been steady sellers both in Finland and abroad ever since. - MMCGUIRK
  • Shadows Fall
    Most striking about this band is their vocal delivery, a whips-and-satin style that combines harsh growls and limpid, clean singing. There's a touch of In Flames and At the Gates in Shadows Fall's counterbalancing of down-tuned guitars and high-flying vocals, but their playing is more progressive, allowing each player to fan their talents across the table like a winning hand. - CDRISCOLL
  • Dark Tranquillity
    Dark Tranquillity's vocalist swings in a wide emotional pendulum during each performance. Sometimes he grunts with the voice of an ogre, but he can also croon with the dejected intensity of a suicidal torch singer. Such diversity is essential to the band's wide-ranging music, which integrates technical metal into operatic structures. - Chad Driscoll
  • As I Lay Dying
    This San Diego-based modern death metal/metalcore band formed in 2001. As a part of the current crop of American death metal acts, including Lamb of God, Killswitch Engage and Shadows Fall, the band plays clean, technical metal that is more suited to radio airplay than the progenitors of the genre ever were. Setting the group even further from the heyday of hardcore/metal crossover is the fact that the band members themselves are Christians, which is a guiding force in their songwriting. Their first album, Beneath the Encasing of Ashes came out on Pluto records in 2001. Shortly thereafter, the band signed to Metal Blade, with their major label debut, Frail Words Collapse coming out in 2003. - MMCGUIRK
  • Suicide Silence
  • Meshuggah
    Imagine if scientists were to hybridize the DNA of late-1980s Metallica and Chaos A.D.-era Sepultura, splice it into the genome of a superhuman cyborg, then send it on a mission to destroy all weak Metal bands in its path. That cyborg would be Meshuggah. Building their stuttering jackhammer riffs atop constantly shifting odd-time rhythms, they execute with frightening, machine-like precision and cement-crushing heaviness. Vocalist Jens Kidman barks out sci-fi-damaged lyrics in an unyielding roar; guitarist Fredrik Thordendal chimes in now and then with Fusion-derived solos that would probably sound horrible on a jazz record, but fit right in with what Meshuggah does. The biggest criticism here would be a lack of outward variation -- the fast tempos, melody-free vocals and densely packed guitars lend a similar surface to each song. Within that limited framework, though, the variations are fast-paced and seemingly endless. - Will York
  • Gojira
    Formed in 1996 in Bayonne, France, this progressive death/doom metal band didn't make its U.S. debut until 2006 when Prosthetic Records released the acclaimed third full-length From Mars To Sirius. Originally called Godzilla, vocalist/guitarist Joe Duplantier, guitarist Christian Andreu, bassist Jean-Michel Labadie and drummer Mario Duplantier were legally forced to change their name due to copyright infringement. They decided on Gojira, the Latin translation of the Japanese title for Godzilla. Rooted in death metal, the band also utilizes sludge and doom metal undertones for a progressive, technically advanced sound that lyrically tackles socio-political issues like global warming and spiritual theories like Impermanence. - JGUYRE
  • The Acacia Strain
  • Arch Enemy
    New, dark and heavy sound with brutal vocals references Progressive and Power Metal. Thrashing guitars and rhythm.
  • Acid Bath
    Despite a short life span and only a pair of releases, now-defunct sludge and doom metal band Acid Bath were nevertheless a major piece of the lauded New Orleans metal puzzle of the mid- to late '90s. With many of the same trappings as their peers (slowly thudding guitar riffs, an almost unmatched reverence for early Black Sabbath), Acid Bath stood apart from the pack thanks to variations employed by singer Daxx Riggs, a wide array of influences in their music and a strong psychedelic bent in their songs. Riggs' singing -- often melodic and given to moments of gothic somberness, but also known to lay out hardcore/death screeches and growls with the best of them -- garnered the band early renown among critics. Their two records, When the Kite String Pops (1994) and Pagan Terrorism Tactics (1996), pointed to serious potential, but the band split following the tragic death of bassist Audie Pitre in a car accident in 1997. Riggs went on to front several psychedelic doom bands, most notably Agents of Oblivion and Deadboy and the Elephant Men, as well as recording and performing as a solo artist. - MMCGUIRK
  • 3 Inches Of Blood
    Formed in Vancouver, British Columbia in 2000, 3 Inches of Blood specialize in light-speed D&D metal with vocals that recall Rob Halford's highest pitched moments tweaked beyond human capabilities. Their Roadrunner Records debut, Advance and Vanquish is surprisingly good, full of blurry, but memorable guitar riffs, lyrics about killing orcs and vocals that may actually drive you insane after awhile. The band toured with the Darkness and are some kind of power/fantasy metal poster children, along similar lines to Avenged Sevenfold's emo-metal. Thankfully 3 Inches of Blood has enough going on (they actually sound like a metal-core band-gone-Maiden) to warrant the attention. - MMCGUIRK
  • Emmure
  • At the Gates
    Is At the Gates' Slaughter of the Soul the perfect dark Metal album? There aren't many recordings that can throw your entire world off its axis and leave you spinning lopsided with the weight of doom, but this record will. Every song pounds with its own black heart and abides by its own bleak logic. Most so-called "technical metal" acts truck in cheap, penny-ante riffs that line up head to tail like so many well-heeled sheep. At the Gates move fluidly through a menagerie of complex, unpredictable measures -- each phrase gliding imperceptibly into the next -- without ever sounding showy. Lyrically, this band brilliantly defies the pomposities of Black Metal, writing songs that writhe with real agonies. Everything At the Gates touched is worth hearing, but Slaughter... represents them in their finest hour. It's an album with flesh between its teeth, blood under its nails, and the cloud of horrible visions in its eye. - Chad Driscoll
  • Scar Symmetry
    Scar Symmetry are a five-piece melodic death-metal act from Sweden that formed in 2004. The band's extremely varied songs and fluid transitions -- from heavy-duty crunch to the sweetest of melodies riding over blastbeat drums -- have some folks talking about a resurgence of the once-burgeoning Scandinavian metal scene. With three albums to their credit, and having recorded for both Nuclear Blast and Metal Blade, Scar Symmetry, while inhabiting the same milieu as Children of Bodom and Dimmu Borgir, pack an astonishing array of metal styles into each song and exhibit a technical ability impressive enough to make them hard to ignore. Their first album, Symmetric in Design, appeared in 2005, Pitch Black Progress followed in 2006 and the band put out Holographic Universe in 2008. - MMCGUIRK
  • All Shall Perish
  • Cannibal Corpse
    One of the most aggressive, influential, violent, frenetic, fearful Metal bands of the '90s. Let's refer to their aural assault as "Splattercore." - MKATE
  • Born Of Osiris
  • Nile
    Nile may possess the trappings of a Death Metal band with basso profundo thunder and frantic riff gnashing, but they maintain an assertive thrashing musicality that has few peers. Absolutely frightening. - Marc Kate
  • Hypocrisy
    The stereotype that Death Metal bands are one-dimensional does not apply to Hypocrisy. Since their inception in the early 1990s, this Swedish trio have continued to evolve while generally maintaining their fan credibility. Early releases such as Osculum Obscenum (1993) proved they could dish out raw, guttural brutality roughly along the lines of fellow Swedes Entombed. Subsequent efforts including Abducted and The Final Chapter incorporated more melodic (though still dark) guitar riffs, along with atmospheric keyboard touches and high-pitched shriek/scream vocals that brought them closer to Death/Black Metal hybrid territory. After disbanding briefly, they came back strong with the live Hypocrisy Destroys Wacken 1998 and the immaculately produced Hypocrisy (1999). The latter featured much more clean, melodic vocalizing than before, as well as a hefty dose of synth-heavy, Pink Floyd-ian melodrama. - Will York
  • Whitechapel
  • Between The Buried And Me
    Formed in 2000 in North Carolina, Between the Buried and Me play extremely technical and varied death metal with super-growly Cookie Monster-esque vocals. The songs have many components, ranging from obliterating grind-core, to messing with signature signatures like the Gorguts on lithium, to moments of sheer ethereal beauty. But it's these passages with light guitars and sung vocals that really set Between the Buried apart from other folks playing death metal today. - MMCGUIRK
  • Deicide
    Founding fathers of Florida's Death Metal sound, Deicide have been creating unholy terror since the late 1980s. Their belligerent riffs pit technical proficiency against guitars that crumble under excessive distortion. Screaming vocals blurt out demonic words rising to piercing shouts and dropping to low, thunderous growls. - Marc Kate
  • Ensiferum
  • As Blood Runs Black
  • Winds Of Plague
  • Into Eternity
  • Kataklysm
    KATAKLYSM offer an open invitation to the end-of-the-world horrors of Revelations. Unrepentantly brutal music carries with it an ethic of chaos and destruction. Few drummers can maintain blastbeat assaults of such intensity, and few guitarists can deliver the rapid-fire successions of notes found here, but these Canadians push the limits of the human body to generate inhumanly extreme Metal. - Chad Driscoll
  • Carcass
    That so many Carcass fans considered the fierce Death Metal assault of Swansong (1996) a sellout says something about the band's origins. Debuting in 1988 with the guttural early Grindcore of Reek of Putrefaction, the quartet established itself as one of the more extreme Metal bands around. The medically detailed and all but indecipherable lyrics to songs like "Cadaveric Incubator of Endoparasites" tend to grab attention first, but the self-consciously gory shenanigans are backed by an appropriately stomach-churning musical attack. Their murky riffs, claustrophobic drums and absurdly low-in-the-throat vocals (courtesy of onetime Napalm Death guitarist Bill Steer) established a pattern many bands would follow. After a brief recording hiatus, they reemerged in 1994 with the more cleanly produced and increasingly song-centered Heartwork, and bassist Jeff Walker's demonic mid-range replaced Steer's low growl. The aptly named Swansong put the last nail in the coffin, so to speak, offering their most accessible yet most controversial work. Whether it signaled evolution or "sellout" was something the band itself could not agree on, and they split around the time of its release. - Will York
  • Napalm Death
    Napalm Death were the band responsible for hacking off the Metal limb that would subsequently regenerate as Grindcore. Pushing the human body to discover the limits of how fast it can drum, strum and vocalize, the tempos they achieved on their early albums are unsurpassable, except digitally. Guitar notes swarm in on listeners like a cloud of flesh-eating insects with a fondness for ear meat, while the drums seem like they're being played with a machine gun. Meanwhile, vocal duties sound like they're being shared by Yoda after a long trek through the desert without water and a shrieking Sam Kinison stuck in a cocaine-less Hell. Though later efforts found the band backing off maximum overdrive to explore heaviness at slower speeds, their music still teems with sound and fury. Napalm Death's organ-mulching blasts of noise continue to define the state of the art in audio brutality. - CDRISCOLL
  • Walls of Jericho
  • Korpiklaani
  • Miseration
  • The Haunted
    After lordly At the Gates decided to quit while they were ahead, Bjorler brothers Anders and Jonas re-surfaced in 1998 as the Haunted. Their music had suffered a sea change from ultratechnical "melodic death" to bludgeoning hardcore Thrash. Upon hearing the self-titled debut, most ATG fans crossed their tattooed arms, harrumphed loudly and turned their backs. It wasn't that the music had relented in ferocity or waned in precision, but it had picked up a lot of radio-rock Americanisms that made it more accessible and not quite as singular. Death Metal fans will have a hard time swallowing the gristle-necked Pantera vocals and the crotch-grabbing rap delivery, especially in songs such as "Undead" and "Three Times." Future offerings may drop the chest-beating bluster to plumb the depths of the spirit (which is what ATG did so well). After all, listening to one man go on for forty minutes about his disgust for society can leave you numb, paranoid and mad at nobody in particular for everything in general. But, if that's where you're headed anyway, hop on. There's probably no one that can get you there faster than the Haunted. - CDRISCOLL
  • Pig Destroyer
    From their 1997 inception, Virginia-based death metal/grindcore superstars Pig Destroyer have represented the very forefront of extreme American metal. The band features guitarist Scott Hull, formerly of seminal hardcore chaos maniacs Anal C*nt and the sole permanent member of grindcore mainstays Agoraphobic Nosebleed, scary chimpanzee screecher J. R. Hayes, drummer John Evans and no bass. Pig Destroyer's inhumanly fast tempos, raving lunatic vocals and propensity for truly disturbing themes centering on violence are pretty much unrivaled in music. Basically, they're as nuts and smart as grindcore can possibly be. In addition to the jarring speeds, Hull manages to peal off some kind of thrumming hot lick in practically every 49-second burst of sonic terrorism the trio produces (see "Restraining Order Blues" and the title cut from 2004's Terrifyer). Chugging death/doom breakdowns and far out, K.K. Downing-inspired solos further blur the lines between death and grind metal. Since they signed with Relapse in 2000, each Pig Destroyer release has been received with clamoring praise from critics and fans alike. - Mike McGuirk
  • Divine Heresy
  • Death
    Death founder and mastermind Chuck Schuldiner has skippered the band through endless line-up changes and stylistic permutations. The group's general trajectory has been from gruff Thrash blasts to operatic technical metal with wall-of-sound mixing and Byzantine song structures. Death deserve credit for almost single-handedly hewing off the prickly, gore-spattered Metal sub-genre which shares the band's name. Unlike the anatomically fixated, charnel house miscreants that followed in their wake, Death's music possessed real substance. It was arguably profound. Using sickness and moribundity as metaphors for social decay and moral corruption, the band never merely gloried in gore for gore's sake. Schuldiner endeavored in his lyrics to make connections between the social and the somatic, between the pollution of the planet and the contamination of the spirit. - CDRISCOLL
  • Celtic Frost
    In the minds of many, Celtic Frost's Death Metal opuses To Mega Therion and Into the Pandemonium are two of the greatest Metal albums of all time. They're certainly impressive work for a three piece, even if they sound a touch overdramatic today. The weird operatic falsettos, cavernous percussion and sci-fi prog-isms of these records haven't aged gracefully, but in terms of influence they easily rank with the Possessed's Seven Churches and Slayer's Reign in Blood. Much to the horror of fans, the band strayed into the flowery fields of Pop Metal during the late '80s. Cold Lake has the feel of a simple makeover that went terribly wrong, inadvertently gelding the band. The mom-approved Metal of "Cherry Orchards" was only a long, curly hair better than the Wonder Bread rock of Whitesnake. Fortunately, subsequent efforts saw the band reasserting their claim to the blackened Death Metal throne, giving the story a happy ending after all. A mismatched platypus of a record, Parched With Thirst Am I and Dying: 1984-1992 captures the band in all its topsy-turvy glory. - Chad Driscoll
  • Rotten Sound
    Well-produced, complicated songs mixing Grindcore, Death and Black Metal into a nasty swarm of riffs that are alternately chugging and blazingly fast. The musicians are pros -- these guys deserve a large audience, and hopefully that audience won't congregate near anyplace decent or proper. - Jessy Terry
  • The Black Dahlia Murder
  • Cavalera Conspiracy
  • The Faceless
  • Brujeria
    Founded by Fear Factory drummer Raymond Herrera, Brujeria are even more sonically extreme than his previous band. With lyrics inspired by the blood-stained tabloids of Mexico and Brazil, the band creates gruesome aural splatter-fests with flailing guitars and larynx-lacerating vocals.
  • Obituary
    One of the most violent manifestations of early Florida Death Metal, Obituary also tended toward a more elaborate orchestration of ultra-violent Thrash than the Death Metal bands that followed. John Tardy's vocals are corrosive and crusty; they scream with a rough urgency that matches Trevor Peres' grinding guitars. His chords cut like a rusty axe swung with great intent, if not precision. Obituary revels in blind, manic violence first and technical virtuosity second. - MKATE
  • Midnattsol
  • Midnight Sun
    Wailing electric guitar folk melodies and hoarse screaming vocals follow heavy power riffs. Raw Finnish melodic metal. - Marc Kate

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Saturday, 31 July 2010
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