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Lists of Domination
GD's Most Dominating Albums Of The 1990's (50-41)
07/04/07 || Global Domination
50. Bathory: Hammerheart
Released: 1990
I wish I knew if Quorthon was aware that he was going to create a milestone with this album. I think he was, and the burden he carried on his shoulders was successfully transformed into “Hammerheart”, an album that has inspired millions and will do the same for the next 100 years. It’s sad that the guy died and therefore his music came to an end, but there’s plenty of stuff he left behind. Bathory is dead and buried but won’t be forgotten.
-Rafal
49. Darkthrone: A Blaze in the Northern Sky
Released: 1992
After recording a classic old school death metal album in “Soulside Journey”, Darkthrone threw their weight into the burgeoning Norwegian black metal scene with their sophomore release, “A Blaze in the Northern Sky”. Ever since the release of “Blaze”, which set the pace that the band was to maintain thereafter, Darkthrone has been one of the most influential titans practicing the “kvlt” style of black metal. “Blaze” is a stripped-down, lo-fi, nasty, and downright vicious album. However, it features a smattering of punkish sensibilities which makes the album somewhat catchy in certain places, in spite of the conscious effort made by the band to make the album an almost wholly harsh listening experience. This punkish element gives the album a certain vital energy which would be missing in many of the band’s later albums. Some devout kvltists prefer the even more stripped-down albums which followed “Blaze”, but the influence of Darkthrone’s first foray into black metal in setting the standard for the whole “kvlt” black metal scene is undeniable.
-Consumer
48. Nevermore: Dreaming Neon Black
Released: 1999
Frustration, depression, sadness, pain, etc. – no band can capture these feelings perfectly and create music based on them. No one except Nevermore. The year 1999 brought us an excellent slab of melancholic metal which contained so much darkness and malice that it poured out of every tune. The story and lyrics about Warrel Dane’s long lost girlfriend might just send shivers down your spine; the song has the ability to melt the heart of the toughest man. A very, very atmospheric release, well worth the cult status it has been given.
-Rafal
47. Fear Factory: Demanufacture
Released: 1995
I’m really surprised that this album is as low as it is on this list. It isn’t very often that an album comes out with the amount of innovation and influence that “Demanufacture had”. Sure, Napalm Death and Godflesh had a similar sound at the time, but none had the melodic breaks, the production, or the “click into the bass drum” stylings of Dino’s guitar riffs.
-Chazz
46. Alice in Chains: Dirt
Released: 1992
Though typically lumped in with its Northwest contemporaries, “Dirt” is heavier, uglier and dirtier than anything put out by the big three of grunge (Nirvana, Pearl Jam and Soundgarden). In their most basic state Alice in Chains is Black Sabbath clad in flannel and hailing from Seattle. Jerry Cantrell and Layne Staley’s riffs are simple, slow, heavy and catchy and the lyrics deal with addiction to, you guessed it, heroin. Although the basic formula is the same, “Dirt” looks at Sabbath-doom through a wholly different lens, one that’s caked with the desperate despondency of the early 90’s. The production is gritty and covered in mud, the time signatures are off-kilter enough to be unsettling and Staley’s raw, powerful croon is memorable for its urgent indifference. The biggest difference between the bands is that Sabbath’s music was meant to be scary-fun and dealt with the highs and the lows, while AiC focuses almost exclusively on the lows. The tenth track “Iron Guts” is a 40-second parody of the Sabbath’s all-time classic “Iron Man” and completes the circle.
I’d be remiss not to mention how closely the concept of “Dirt” mirrors Layne Staley’s life. Remember kids: Use drugs occasionally to augment your creative impulse, but just say no to OD’ing on speedballs alone in a messy apartment.
-Stephen Fallen
45. Gorefest: False
Released: 1992
Gorefest were considered a by-the-dozen death metal band with their “Mindloss” debut. Then something happened and all shit broke loose: they recorded “False”, and I was completely blown away. The progression from “Mindloss” to this one is on par with Peter Forsberg’s famous goal in the Lillehammer Olympics. Full of excellent death metal hits and with a production that blows you away, Gorefest really put out one awesome record. “False” also includes one of the finest moments in death metal drumming, courtesy of Ed Warby.
-Lord K
44. Cannibal Corpse: Tomb of the Mutilated
Released: 1992
One could argue that Cannibal Corpse has always been the poster-child for gory/violent death metal, therefore serving as a base for comparison for any group judged too generic and dull, whether musically or lyrically. “Oh, I hate all these Cannibal Corpse br00tal bands. They suck! Now Egbert, pass me my guitar, throw gasoline on me and light me on fire as I unleash a fiendish solo forged from the fiery pits of my mother’s basement!” would be the words of some 32 year old douche in a Spiral Architect T-Shirt. Sadly, the point these virgins are missing is that circa 1993, Chris Barnes and The Corpse were running thangs. Few other bands have had such a significant impact on the extreme metal scene, let alone pushing the boundaries of brutality beyond what were previously unfeasible limits.
First of all, there’s “Hammer Smashed Face”. A death metal hit song. Now that’s a fucking oxymoron if I’ve ever heard one. And there’s more. Much more. Few vocalists have ever managed to let their growls sink as deep as Barnes’ did on “Tomb”. The only thing on this album dipping lower was the level of morality presented in Chris’ lyrics. In 1993, the unfathomable depths of political correctness seemed bottomless. Just assume that “Necropedophile” is a slightly cynical yet astute metaphor for the true nature of today’s society of consumerism and corporate greed and how it touches our young ones. It’s ok, they’re already dead inside… says the CEO. Right. Anyhow, the main point is that Cannibal Corpse delivered one of the finest albums in death metal at the time, and arguably the best of their career. Heaviness, intensity, uncompromising brutality and sheer repulsion. The indubitable key to success my friends (just ask any successful CEO you might know)…
-Fishermane
43. Obituary: Cause of Death
Released: 1990
Obituary is one of those “love ‘em or hate ‘em” type of bands. Those that love them, really worship this album and in my opinion, it’s their best. My only complaint is that the production is kind of shitty but considering its age, that complaint will remain minor. I think they should get James Murphy back for an album or two, he seems to make the band better for some reason. “Chopped in Half” is simply one of the best songs, ever.
-Chazz
42. Behemoth: Satanica
Released: 1999
Behemoth’s significant breakthrough album. They had released several black-metallish albums before “Satanica”, but it was actually this particular album which presented Behemoth as a solid metal band. They gave up running around the woods with poorly done corpse-painting and gathered up a handful of memorable killer-riffs that made other bands jealous. It’s not particularly enjoyable to be run over by a tank, but that’s exactly what this album does to everyone. It couldn’t have been done any better.
-Rafal
41. Korn: Korn
Released: 1994
When Korn initially recorded their first demo “Neidermeyer’s Mind” back in 1993, it must’ve been extremely hard for them to imagine just how important and influential a band they would become. Almost 15 years later and more than 25 million albums sold worldwide, Korn have managed to make quite a successful career out of writing diatribes about social alienation, the exploitive music industry and the joys of everyday life in general. In retrospect, while their self-titled 94 debut might not have matched the commercial success of their later albums, it is arguably their most solid release overall. Vocalist Jonathan Davis really let all his inner feelings and emotions spill out, to the point where he actually breaks down and starts sobbing during the closer “Daddy” (which according to dubious sources, is the the only song they refuse to play live anymore).
To be honest, a significant amount of listeners might sustain cold feet while indulging in this album, especially due to the somewhat typical chugga-chug riffs and “jump-the-fuck-up” choruses. However, do take into consideration the fact that these tracks were written light years before euphemisms like “Nu-Metal” & “Metalcore” were even remotely close to conception. Thus, even though Korn deserve a smack in the mouth for contributing to spawn genres that would eventually become the bane of modern metal, they deserve some amount of respect for being on top of their game and ahead of their time.
-Fishermane
