Burn It All: Sodom Ignites Again with The Arsonist The Arsonist isn’t just a strong Sodom album—it’s a clear reminder that the band remains a dominant force in the global thrash scene.
Slayer’s South of Heaven: Evil at Half Speed South of Heaven isn’t just a follow-up to Reign in Blood—it’s its shadow. It shows Slayer consciously pulling back from pure speed and finding horror in restraint.
In Flames' Clayman: a Melodic Masterstroke of Anguish and Evolution Clayman is more than an album—it’s a reckoning. A mirror held up to the soul at the moment it starts to crack.
King Diamond’s House of God: Metal’s Darkest Mass House of God wasn’t the loudest King Diamond album. It wasn’t the most technical. But it was among the most focused.
Megadeth’s Cryptic Writings: A Masterclass in Restraint and Riffcraft It’s not the album that changed everything. But it’s the one that proved they could change—and remain unmistakably Megadeth.
Volbeat’s GOAT: A Gospel of Fire, Faith, and Feedback God of Angels Trust is more than just an album—it's an experience.
Metallica’s St. Anger: A Blueprint of Breakdown St. Anger wasn’t Metallica’s fall. It was their reckoning.
Metallica’s Load: A Blues-Drenched Rebirth Load wasn’t the end of Metallica’s ferocity. It was the redefinition of it. It remains a misunderstood monolith—less a deviation than a detonation.
Vader’s Tibi et Igni: A Firestorm of Faith and Fury Tibi et Igni is not just an album—it’s an incantation. A war cry. A funeral hymn for the world as it burns.
Iron Maiden’s Brave New World: Rebirth, Riffs, and Revelation Brave New World is more than just a great Iron Maiden album—it’s one of their most important.
Alice in Chains’ The Devil Put Dinosaurs Here: Riffs, Ruin, and Revelation The Devil Put Dinosaurs Here is not just an album—it’s an excavation. Of trauma. Of belief. Of identity.
