Nothing beats hopping aboard the bandwagon. With every Tom, Dick, and Metal Hammer doing one, Dr. Steel decided to create his own. Why? Because he wants attention. Despicable, isn’t he?

Metal Hammer circa 1999, when Machinehead’s Rob Flynn was still sporting his Backstreet Boys do.

It’s been anything but a lousy era for all manner of Heavy Metal these last 10 years. In fact, the musical universe we worship has enjoyed a renaissance of sorts. ‘Twas certainly better than the 90’s. Now the BIG question is, amid all the dross and supreme efforts (there are tons of both) that came out, which is gonna influence the next generation of great bands?

Here are Dr. Steel’s choices (and their necesary justifications). Take note: since this is a list, and lists usually generate much bitching along the lines of “why-didn’t-you-include-my-[enter kvlt band here]-you-faggotty-journalist?” the selections are arranged ALPHABETICALLY to diffuse the expected overreacting. There’s a comment section down below too, so don’t be afraid to post objections plus your own ideas (in a civilized manner). We value your opinion here at Rockhospital.

Allen/Lande-The Revenge (2007)

AOR has always been a dubious genre that seemed more an 80’s leftover than the stuff of amazing albums. Apparently, all it took to demolish this negative perception was one Swedish guitarist with vision (enter current Primal Fear axeman Magnus Karlsson) who brought together two amazing voices (Jorn Lande and Russel Allen) for two albums that electrified the heavy metal universe. In terms of production, songwriting, and sheer panache, both “The Battle” and its followup “The Revenge” are 100% fireworks. But Dr. Steel is more inclined to the latter, so that’s what’s making the list. If anyone would ever need references in the AOR/Power Metal genre, don’t hesitate to recomment this lovely masterpiece.

Amon Amarth-With Oden By Our Side (2006)

While “Twilight of The Thunder God” established Amon Amarth as the mightiest Viking Metal quintet on earth, that album needed a strong predecessor to lay the groundwaork for its success. Enter “With Oden By Our Side.” It’s basically melodic death metal spun around blood soaked lyrics recountingViking carnage. A simple formula, really, but like their forebears, it took the world by storm.

Archenemy-Wages of Sin (2001)

The beginning and end of “Wages of Sin” is, and always will be, the growlsome blonde she-beast Angela Gossow, whom everyone should try to meet (or see) in person cos she’s really hot (Dr. Steel has!). “Wages of Sin” not only showcased today’s most prominent female extreme vocalist (excuse us, Sabina Classen), but marked the next crucial evolution of Michael Amott’s band (yes, it’s his band) in terms of songwriting and how he and his bro execute their tasty guitar solos. Even with a string of lackluster followups that were largely forgettable aside from a coupla hard tunes (2007’s “Rise Of the Tyrant” was the bomb though), Archenemy have owned the ‘Melodic Death Metal’ genre since “Wages” triggered our collective adoration for Angela.

Behemoth-Demigod (2005)

Anti-Christian sentiment has always enjoyed a long standing relationship with Heavy Metal, yet it took a Polish trio’s millionth album to bring the theme to another level. Thanks to the studio magic that transformed the growls here into horrendous tidal waves of blaspheming incantation amid a vortex of crucifying Death Metal, “Demigod” made the heavens weep. Besides this, numbing percussion work and ripping guitars secured the album’s legacy; “Demigod” is a timeless piece of work for just how incinerating it sounds, from opener “Xul” to Nergal’s declarations of “Slaves shall fucking serve!” on “Slaves Shall Serve.” Since its release Behemoth have graduated to the upper tier of Extreme Metal, securing the band fame, countless tours, more fame, and Nergal a very hot girlfriend.

BONUS EYE CANDY: Nergal’s better half, Polish pop diva Doda. The disparity makes you wonder how they ended up together. Dr. Steel thinks death metal musicians are the next football players.


Biomechanical-The Empires of the World (2006)

In Dr. Steel’s ever un-humble opinion, Biomechanical are one of the most immense things to explode across the metal cosmos in the last ten years. The brainchild of a very deranged classic metal fanatic enamored with film score, Biomechanical become John K.’s vehicle for a twisted marriage of majesty and aggression that combined 90’s thrash, soaring vocal calisthenics, and chilling orchestral tidbits into one coherent whole. The second part of a trilogy that was released across several years, “The Empires Of the Worlds” emerges the most diverse and harmonious offering among its fearsome siblings. Still woefully underrated and having sunk below the depths of obscurity since “Cannibalized” wrapped the band’s ambitions in 2008, only time can tell if Biomechanical’s gift to the metal world lives on.

Children of Bodom-Follow The Reaper (2000)

Before Dragonforce became synonymous with musical excess, these Finns burst forth from their frozen homeland with an album that incinerated from start to finish. Now the Bodom kids had been around since “Something Wild” caused a (minor) stir in the late 90’s and already had a classic under their belts with “Hatebreeder.” On “Follow the Reaper” however, the keyboards moved to the forefront and a certain Alexi Laiho’s shredding gained no small measure of renown. The album confused people as well. These days COB are just COB. But around the time of “Follow” and its successor “Hatecrew Deathroll” nobody had a fukken idea where to place these guys, who liberally used Euro Power Metal, harsh vocals, and a helluva lotta Thrash on this boiling stew from the Hatecrew.

Dimmu Borgir-Death Cult Armageddon (2003)

Never given the recognition they so rightfully deserved even when they, along with Cradle of Filth, really made progress in making Black Metal the viable subculture it currently is, Dimmu Borgir’s sound reached a peak of sorts on this immense, chilling, and (horrors!) melodic beast called “Death Cult Armageddon.” Spiced with generous amounts of orchestral bombast and symphonic steroids that elevated all yer usual Black Metal staples into rollicking, bloody entertainment, Dimmu Borgir unwittingly begat a—dare we say—“trend” in Black Metal that uh, basically paved the way for tons of ‘Dimmu-babies’ who cloned their approach to the genre. Y’know, all gnarly riffs, keyboards galore, croaking vocals, and symphonic crap? If it brings a bunch of wimpy American bands to mind, their existence is Dimmu Borgir’s fault. Excuse us Emperor.

Immortal-Sons of Northern Darkness (2002)

A swansong until the ice-cold brutality of “All Shall Fall” checked global warming last year (the polar bears and Inuits were very happy), “Sons of Northern Darkness” is almost the anti-thesis of Black Metal. Devoid of keyboards, non existent crap production, and repetitive assaults on Christianity, “Sons of Northern Darkness” is the closest to unadulterated Heavy Metal Immortal ever reach. The riffs are crushing, the mood frostbitten, and Abbath utters epic poetry in his signature croak. The songs deal with infernal dominions locked in ice, dark castles, and other sub zero grimness, plus the world’s harshest continent (“Antartica”). How the fuck could this not be a classic?

Killswitch Engage-The End of Heartache (2004)

If it weren’t for these bastards and the new singer who debuted on this album, the current metal scene wouldn’t be bloated with a glut of plagiarized Gothenburg riffs married to catchy breakdowns plus some of the worst hoarse vocals ever recorded. Then there’s the saccharine sweetness of clean singing to break the monotony on occasion. Sound familiar? Thanks a lot Killswitch Engage! On “The End of Heartache” the band finally broke a glass ceiling of sorts, managing to crossover into some measure of commercial success. You gotta admit; not only do KSE remain super popular (these days the band are better known for their increasingly lackluster albums), but they will forever be credited for starting a movement.

Lamb of God-Ashes of the Wake (2004)

American Heavy Metal had quite a wake up call back in 2004. Not only was the nu-crap dead and redundant, but this beast christened the NWOAHM came roaring to life and who were its standard bearers? Five Virginians calling themselves Lamb of God who did this Death-Thrash-Groove thing that never failed to incite much moshing and walls of death. Unlike their peers Killswitch and Shadows Fall, Lamb of God’s musical approach was a lot more bare bones, relying on intricate no-nonsense riffs driven by Chris Adler’s drumming style. Oh, and the formula also needed a pissed off frontman for it to work. Enter one Randall Blythe. Since “Ashes” splashed, Lamb of God had nowhere else to go but up. Today they’re an oft imitated Heavy Metal institution and tomorrow will likely see them cast into legend.

Nevermore-This Godless Endeavor (2005)

While the Seattle quintet already had a string of slaying albums under their belt, it wasn’t until “This Godless Endeavor” that their dark powers sundered the heavens and spread pestilence across CD players. In a world where getting lopped into a genre is expected, Nevermore alternated between the realms of Thrash, Heavy Metal, and the extreme stuff with ease. Exploding from our speakers with the furious opener “Born,” one of the few Death Metal-tinged songs in existence to have clean vocals, the band raised the bar for what it takes to become THE metal band. Across its dozen tracks, “This Godless Endeavor” swings from tear-soaked ballads about tormented machines (“Sentient Six”) to the tempestuous “Psalm of Lydia”and the whopping title track. There are times when listening to this album could get too heavy to handle.

Nightwish-Once (2004)

Thanks to Nightwish (and perhaps Evanescence), the metal scene in every corner of the world is now blighted with attractive chick singers fronting bands who peddle a mix of Gothic and Power Metal. (Hello Epica, After Forever, and Krypteria.) Unfortunately, they all share the same problems of: a) sounding like Nightwish b) sounding like each other c) having a scrony anorexic female on the mic who’ll likely be on a “Hottest Chicks In Metal” list somewhere. This entire cliche’ and art form broke into the mainstream with “Once” where throbbing anthems you could almost dance to shared running time with Thrash-tinged songs and a folk instrumental or two. The band have changed signers since this album catapulted them to global success, but despite the atom bomb reception of “Dark Passion Play,” it’s “Once” that melted the hearts of many a-female and brought them into the metal-fold, for better or worse.

***Special Commendation: Nile

Be it “In Their Darkened Shrines,” “Annihilation of the Wicked,” the phallic grandeur of “Ithyphallic,” or last year’s insanely well-received “Those Whom The Gods Detest” the trio Nile have what it takes to cast a long shadow in metal. Why? Owing to their consistency, there really are no huge differences between one Nile album and another. Yet these guys shall live on in perpetual cult status for their Egyptological bent, a move on their part that has removed Death Metal from its usual blood and guts themes.

Opeth-Black Water Park (2001)

Crazy Swedish Prog Metal that infected out ears with musical beauty. With “Black Water Park” the quintet delivered much creepyness that swirled in the confluence of Extreme Metal and all sorts of gentler influences. “Watershed” might have been a watershed, but “Blackwater Park” is easily the most compelling progressive albums to come out of Scandinavia in ages.

Satyricon-Now, Diabolical (2005)

No keyboards, no blasts, no screechy vocals, just hooks and lots of darkness. Holy fuck, is this still Black Metal? Yes it is, and scary too (try “Delirium”). The cover is a grainy mugshot of the horned one (Dr. Steel’s best friend) and the eight tunes inside range from arena rock Black Metal (“King”) to rumbling, frostbitten fare (“To the Mountain”). Satyricon accomplished something special with this release and it will likely inform future practitioners of the dark arts.

Scar Symmetry-Pitch Black Progress (2006)

The concept behind Scar Symmetry is simple: Combine alternating harsh and clean vocals amid a backdrop of patented Swedish Melodic Death Metal. Having arrived on the scene with the strong debut “Symmetric In Design,” Scar Symmetry wasted no time unloading this immense sophomore release on an unsuspecting world. “Pitch Black Progress” is just massive. The Death Metal parts are br00tal, the Progressive parts are complex, and the Power Metal segues take your breath away. What the band came up with was a metallic hybrid many have attempted but often failed at creating. No small thanks to now-departed singer Christian Alvestam, whose throat work here elevates this release into the pantheon of timeless metallic glory.

Symphony X-The Odyssey (2002)
Long underrated in the US metal scene, Symphony X spent the 90’s releasing cult albums that elevated neoclassical Progressive Power Metal beyond Yngwie Malmsteen excess and Dreamtheatre tedium. When “The Odyssey” came out in 2001, the quintet not only upped their game but brought concept album bombast and utterly slaying melodic steel to new heights. Basically a collection of songs punctuated by a cheesy-as-fuck retelling of Homer’s “The Odyssey” that did Iced Earth one better, harder tracks like “Wicked” proved these guys had balls despite the keyboards. With one Michael Romeo on guitar, the band also fed the metal world a new six string hero. Let’s not forget Russel Allen, who has the distinction of having sung on two albums featured on this list.

Slayer-God Hates Us All (2001)
It came out on a day that changed the world (9-11-2001), itself a coincidental feat worth commemorating. But is it a good album? Slayer diehards are forever blind to the band’s faults, while more discriminating ears didn’t embrace this wholeheartedly. Still, you gotta admit…”God Hates Us All” is one helluva song and album title.

Testament-The Formation of Damnation (2008)

Arguably the mother of all comeback albums. Testament taught the Thrash Metal scene another lesson in violence with eleven songs boiling with wrath and unbridled power. The sheer scope of “Formation” is breathtaking, from the Wagnerian bombast of its intro “For The Glory Of” to the bludgeoning title track and the melancholy of “Afterlife.” What’s even more amazing is the band, gone for nearly a decade, doesn’t come off as a one trick pony: they’ve got anthems here, as well as faster numbers (“The Persecuted Won’t Forget”), chunkier fare (“Killing Season”), and an album finisher that’s just dripping malevolence. With “Formation…” Testament really built something that would stand the test of time.

Trivium-Ascendancy (2004)

It always surprised Dr. Steel how much HATE many-a metalhead reserved for Trivium. Honestly, they’re not THAT bad…and they’re not the second coming of great sex either. For their Roadrunner debut the quartet pulled off an album that has grown into a (gasp!) cult release for the ill-fated “metalcore” movement that’s by all intents and purposes already dead. (Thank God.) “Ascendancy” won over a ton of fans for its impeccable chops, solid songwriting, and aggression, not to mention those hilarious interpretation videos that continue entertaining us to this very day. The truth is, Dr. Steel himself doesn’t dig this album as much as the band’s later work, but among Trivium stalwarts, “Ascendancy” is the outing to beat.

***Dishonorable Mention: Metallica- St. Anger (2003)

Yeah, this is gonna live on down the ages too. Unfortunately. Why? Cuz its fucking awful. Zero production (they paid Bob Rock millions to work the knobs and play bass?), bloated songs that had nowhere to go, and musicianship that we thought could only be done by 12 year olds. Dr. Steel used to be blind when it came to Metallica; he bought this album the first day it came out in stores. Not anymore. He actually gave “St. Anger” a chance. LOTS of chances, even. Spinning it endlessly to get its ‘feel.’ Nuh-uh. Over time he has grown distant from his once favorite band thanks to this excessively hyped 2003 outing. Despite the disappointment, “St. Anger” remains in his CD collection as an oddity that evokes unnamed feelings (wink, wink). Fated to become a by-word for any band release that scores high in the ‘suck’ scale, “St. Anger” will likely be haunting the metal world for the next 1,000 years. You gotta admire Metallica though, since these guys have managed to conquer opposite ends of the register of greatness. (FYI, “Master of Puppets” is still the ultimate metal album.)

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