Tag Archives: Opeth

Top 10 Metal Albums of the 1990s

The 1980’s gave the Heavy Metal genre recognition after a full decade of being looked as a despised “noise” that started with Led Zepplin and Black Sabbath. I can honestly say that even with the pure metal and cheesy hair metal, the 1980s was best decade for the genre. After Iron Maiden & Judas Priest started the metal boom in the beginning of the decade, metal in general started expanding into new diversity around the world to trash metal, progressive metal, black metal, speed metal, hair metal, and so many more. So many bands that came out this decade are still remembered as one of the best. Unfortunately the 1990s metal isn’t as powerful or as recognized as the 1980s. At this time around, metal was facing a new genre of music called Grunge and Alternative Rock that took the musical spotlight from everyone. Plus the evolution of the genre throughout the 1990s went sour when they reached the awfulness of Nu Metal and big names like Metallica sold out with different, tasteless musical directions. But that’s not to say that metal in the 1990s were at all bad because we had new bands that went into the positive direction of metal when transforming into folk metal, sludge metal, technical metal, and other metal that sounds and feels as impacting as metal in the 1980s. If you don’t believe me, check out past Top 10 Albums list for each year of the the 1990s.

With that being said, I certainly enjoyed the good side of heavy metal in the 1990s. Not to mention that I got into Heavy Metal in this decade so I can’t overlook at this decade’s metal and stick in the past in the 1980s. Here’s the best Heavy Metal albums of the 1990s! 


Number 10.  –  Burn My Eyes – Machine Head

Before experiencing this album I would have never dreamed that modern thrash metal can be this good, because I was pretty much an old-school purist (then). I guess that liking some contemporary modern metal (nu-metal included) and knowing the grunge scene also helps, but this release took me by storm anyway. Firstly you will have to go a long way to beat it. Producer Colin Richardson has done an excellent job at capturing Machine Head’s aggression while getting a very tight performance out of each individual member. Most notably that of Logan Mader. His riffs and solos keep this album interesting, mixing up each song so that it never finishes the way that it started. This prevents the songs from getting boring or even growing old even after 9 years. Sadly not much has been heard of Logan since his controversial sacking from the band apart from a short stint in Soulfly and now with his sub standard new band Medication. Burn My Eyes is full of everything you want from a metal album. Heavy riffs, ripping guitar solos, pounding double kick thrash beats; gut wrenching vocals and 11 of the best metal songs ever to be put into a single album. I long for the day when they can return to making music they way it should always be.

Number 9.  –  Agalloch – Pale Folklore

Agalloch are always listed as folk metal and black metal, but it is important to only keep these terms in the back of your mind, for Agalloch have a sound that is not that simple.  In fact, I’ve heard the band referred to as Grey Metal.  And it makes sense, partly because their music is difficult to classify, but mainly because the term fits their foggy autumn sound so well.  Maybe it is because they are from Oregon, far away from the European Black/Folk Metal scenes, that they have been able to craft such a unique sound for themselves.  Or maybe not, it doesn’t really matter.  What does matter is that the metal world has been blessed with a new champion of creativity and intelligence. There’s also that folky texture that has become one of Agalloch’s trademarks, though it’s not as obvious as the acoustic interludes present throughout The Mantle—alternately, it’s more inherent and subdued.  The comparatively short instrumental The Misshapen Steed sums up Agalloch’s direction on this album for me: it’s quieter and more haunting than Agalloch’s next albums, but the enchanting and menacing qualities are still there, even if they take longer to make an impression. Hallways of Enchanted Ebony and As Embers Dress the Sky would make a list of Agalloch’s best songs, undoubtedly, and are the standouts on this release.  The Melancholy Spirit is harder to get into than those two but is also excellent.  The album’s weaknesses come in a few spots in the Skyline trilogy, which has its iffy moments, and Dead Winter Days is probably Agalloch’s most average song, but not bad by any means. This isn’t my favorite Agalloch album, but I do love it, even with its faults.  Everything this band does seems to have an underlying genius to it, and if dark, folky, and especially nature-worshiping music suits your fancy, the patience it takes to get into this album is well worth it.

Number 8.  –  Paegan Terrorism Tactics – Acid Bath

It sucks that a band like Acid Bath comes in with something new and refreshing then disband so soon, leaving us listeners to desire more. In comparison to When the Kite Sting Pops, this album is more groovy, consistent, and “mature” than the last album, which could be full blown chaos at times. This album doesn’t inspire the same level of terror the last one did, this album approaching darkness from the same angle that Alice In Chains usually did, through morbid and introspective lyrics, though this band is much darker than Alice. Dax Riggs’ favorite lyrical topics of drug addiction, abortion, bone dust, and grave flowers make a come back, and while his lyrical depictions are interesting. Acid Bath wasn’t just a run of the mill Louisiana sludge metal band. They were a fantastically crafted band that mixed the best of romance and macabre into a wonderful music mix which sounds a little like The Cure meets Cathedral. Acid Bath is bleak and dark as hell, but they are also melodic and sometimes gorgeous . Paegan Love Song is an anthem and Bleed Me an Ocean keeps up the intensity. This album is a grower. Upon a few listens each of these tracks will stand out and all prove strong on their own. New Death Sensation is haunting and offers an eerie listen. Venus Blue is amazing and is followed by the equally amazing and brutal 13 fingers which riffs like crazy. My only complaint is that 16 minute wait of silence which is attached to the Dead Girl track. That alone brings this down half a star, but it’s a minor complaint while taking in the album as a whole. Listen to this if you like grunge or metal or appreciate the darker side of life. You won’t be disappointed.

Number 7.  –  Ænima – Tool

When this came out it was either lauded as an ingenious masterpiece that was so far out there and unique that it towered over everything that Metal or Rock music had to offer at the time or it was dismissed as a pretentious affair, a presumptuous put-on that tried to pass itself off as an artful and refined musical statement. Latter sentiment was obviously fueled by later comments by Keenan, who as geeky introvert mused on the unfairness of the medias preference to favor generic and meaningless music in favor of what he termed “art” and that being reflected by the charts as well as the hordes of of people who seemed to radiate the message “hey, I listen to Tool, the shining beacon of the music industry which makes me one sophisticated son of a bitch”. The songs have all a dark atmosphere sorrounding them, this is a quite dark album. The drumming is interesting, but it is really the guitars that hold the song together. Most of the songs have multiple layers of structure, the most superficial being composed by the catchy riffs, while the deepest is composed by the deep lyrics and general atmosphere (you probably only reach this layer after some listens). Excellent album, which is a bit long no doubt but you can skip the somewhat weaker last 2 tracks. Highly reccomended for people looking for high quality and different sounding albums, whether it is progressive rock or alternative or metal.

Number 6.  –  When the Kite String Pops – Acid Bath

This is the album that started this new movement of sludge metal. For the fact that over 37,000 copies in the US with no publicity should tell you why this album is so massive. If the album cover that used the painting — made by notorious serial killer John Wayne Gacywhile in prison awaiting execution, didn’t intrigue you, then listening to it will. Like most metal, Acid Bath seems obsessed with the macabre, the gruesome, and the bloody, and in the case of this classic, almost entirely focused on the mind of the serial killer. The group tackles murder without any slasher movie excitement in glorification, nor third person analysis, but instead by going directly in the soured mindset, and showing often poetic and always graphic lyrical images of mutilated death, sexual assault, and about as many other horrible scenes they can muster. From the vague and tone-setting misanthropy thriving in The Blue, to the bloody sexual climax in Cassie Eats Cockroaches, the goal is always to indulge the listener in the darkest of the dark, with no safe spot to be found. Musically, variety is the main attraction point, and is the reason the album sticks out so much as a unique one. Songs here are well constructed, and played with focus and technical skill that never feels show-offy. The recording is clean and powerful by most metal standards, with everything taking up its own space and retaining a powerful guitar driven assault. It’s held back slightly by its meaty run time and a few lyrics that border on corny, but overall that doesn’t detract from an album that embodies it’s genre, while staying fresh and full of ideas 20 years from its release. 

Number 5.  –  Still Life – Opeth

As with many people, Opeth were my introduction to extreme metal, and also one of the first prog bands I really enjoyed, along with The Mars Volta and Tool. Still Life was my first experience of the band, and remains my favourite album of theirs, and one of my favourite albums of all time. Still Life represents the band at the peak of their career, between two styles. The dark, atmospheric sound of the early albums is still here, but the lengthy prog-influenced sounds of the more recent albums are displayed here for the first time. Still Life is possibly also the band’s most complex album, guitar-wise at least, with many time changes, heavy/acoustic switches and technical riffs and solos in most of the songs here. While Opeth are often criticised for staying on the same riff for too long, on this album they always seem to do something different at the exact moment you feel they should move on, with the possible exception of “Serenity Painted Death”, which thankfully has some of the better riffs on the album to save it anyway. The acoustic sections onStill Life are sublime, with “Benighted” and especially “Face Of Melinda” being beautiful, almost entirely distortion-free songs, with Mikael Akerfeldt’s clean vocals a huge step up from My Arms Your Hearse. The soft parts also work magnificently in contrast with the heavier areas, in particular on the insane opener “The Moor”, packed full of huge riffs, harmonies and time changes but also some brilliant melodic parts. “Moonlapse Vertigo” has some of Opeth’s catchiest guitar sections while “White Cluster” has some of their most technical, but my favourite song on here has to be “Godhead’s Lament”. Having the band to discover the folk style was the best thing for the best otherwise they would remain mediocre. It shows the spirit and soul that most Metal albums are seriously lacking but it enthuses upon so much creativity at the point where it’s artistic.  Opening with a maelstrom of swirling riffs and masterful drumming, it goes on to provide a storming display of the band’s best heavy work and also one of their most beautiful acoustic passages. The songs here are lengthy yet never dull, and perhaps more than any Opeth album since, offers new sounds on each listen. I have heard albums that do prog, metal and acoustics better than Still Life, but none that manage to blend the three as fantastically as Opeth on this release.

Number 4.  –  Focus – Cynic

The base of Cynic is in a highly technical breed of thrashy death metal with an emphasis on melody and texture provided by keyboards and other nontraditional metal instruments such as the Chapman stick. Vocals come in three distinct flavors: snarling male growls not entirely unlike what one would hear on a dusty copy of ‘Seven Churches’, sporadic operatic female clean vocals, and synthesized male vocals with a ‘robotic’ tone. The most logical adjective to use is, of course, ‘progressive’, as Cynic never ceases to change the direction or tone of their music. This album rarely settles down, with consistently shifting textures that trade off and overlap in what can only be described as organic manner. Frequently a technique will be employed where instrumentalists will slip one by one into the next movement until they have all collected before performing such a maneuver again, making this an oddly flowing listening experience. ‘Focus’, while not aesthetically for everyone, is an undeniably seminal work in the dimension of metal and progressive music. While only a certain segment might enjoy what is presented on this album, what is presented is an utterly necessary compendium of sounds that must be appreciated for what they allowed to be created more than what they are in and of themselves.

Number 3.  –  Dirt – Alice in Chains

Dirt is one of the darkest, depressing, harrowing albums ever made. It’s full of so much despair and pain, it contains so much anguish that it’s sometimes really hard to listen to. It’s seen as THE heroin album, because of what Layne was going through and how vivid the lyrics were and the imagery they evoked. The album is definitely about Layne’s addiction, but I think the songs go beyond that. They go much deeper and it isn’t quite as one dimensional as that, even though at the album’s heart it’s about addiction I think the songs deal with deeply personal and emotional issues that go beyond Layne’s addiction. Sometimes, the lyrical content is incredibly vivid and other times it’s so cryptic and hard to decipher. It’s one of the most absorbing albums ever, I feel exhausted and drained after listening to it. The best thing about Grunge, for me, was the different styles the best bands had. From Nirvana’s Punk Rock sensibilities, to Pearl Jam’s classic rock leanings, to The Afghan Whigs’ soul influences. Each band from the scene had something different to offer. Alice In Chains were the band whose aesthetic was closest to Metal and I think Dirt is not only the darkest album to come out of the movement, but it’s one of the darkest albums ever. Dirt is Alice In Chain’s masterpiece, their career defining album and it’s one of the best and most essential albums of the decade. It’s actually chilling, Layne invites us into his hellish nightmare and completely changes our perception of music. It’s an album that floors me, it leaves me absolutely speechless

Number 2.  –  Rust in Peace – Megadeth

Is there any doubt in your mind that this could not be number 1? Why not? This is the prime of Megadeth and even the best songwriting I’ve ever seen from the band. Everything I said that was good about “Killing is My Business…,” “Rust in Peace” is actually twice the awesomeness. It had the most innovative and the most groundbreaking guitar-riffs ever put in singular album. There isn’t a single bad song in “Rust In Peace;” the experience from beginning to end, each time you play “Rust in Peace,” is a fulfilling Metal experience. Ever since I’ve encountered this album, I haven’t encountered another Heavy Metal album that even approached to the effectiveness of this very album. It has a great balance of being so political and be so imaginative by putting the then US President, George H.W. Bush to be in this gigantic conspiracy of extraterrestrial activities. With an insane concept like that for an album, Megadeth spared no expense with what they were capable of in making this album. Even still to this day, I wonder how did they even pull off  these songs that you don’t ever hear from any other Heavy Metal band. “Rust in Peace” is a classic, it’s a phenomenon, and most of all… it’s legendary!

Number 1.  –  Sound of Perseverance – Death

And so we come to Death’s last, and during their run in the 1990s from Human, to Individual Thought Patterns, to Symbolic, to finally their last album, they were the best 4 consecutive albums that a single band has ever had! I could have put those four albums in the list of the best metal albums of the 1990s, but that wouldn’t be fair for the rest of Metal bands in the 1990s because they weren’t superior to Death in comparison. Death’s 1995 album Symbolic had been an astounding release and Chuck had evolved each album in a fairly linear direction away from straight forward death metal, and with that album appearing to take the sound as far as it could go without falling out of the genre altogether. With only the occasional riff or lead reminding you that this is the same “band” that released albums like Human and Symbolic. The progressive element has been amped up to much higher levels and the more traditional death metal riffs are far less prominent, none of which is surprising when you consider the members of the band were never hired to play to death metal in the first place. The more progressive metal style of The Sound of Perseverance is not the only thing that makes this album stand out from the rest of the Death discography. Chuck’s vocals have a much higher tone than on previous releases, approaching black metal-like screams while remaining completely intelligible. The new vocals somehow create such a passionate roar as we simultaneously hear many of the high-pitched riffs that’s out for blood. The musicianship is truly impressive and from a purely technical perspective, there are not too many albums out there that could match it. Every track has moments of sheer brilliance with crushing riffs, exquisite leads and some fantastic drumming from the very impressive Richard Christy. The majority of the album’s highlights occur in the first half with Scavenger of Human SorrowBite the Pain, Voice of the Soul, and the wonderful Story to Tell containing the most fluent and consistently enjoyable structures overall. It’s not surprising to me that there are many out there that consider this the finest Death album, as it would undoubtedly have drawn a whole new crowd to the band. Everything just comes together here, and sounds better than ever, from the mystic atmosphere to the driving grooves that had come to define Schulidner’s guitar wizardry.  Not to mention the fantastic songwriting, filled with memorable hooks and powerful vocals, with what is probably the best riffing the band had done up to this point. This is a culmination of all of Death’s previous works, and their ultimate album that left the metal world a huge bang to remember.

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Top 10 Albums of 2001

Number 10.  –  “The Blueprint” – Jay Z

Back in the 90s there were many albums that set the trend for years to come, those influential albums that changed the game and that other hip hop artists would use as a template to follow. In the 2000s however, there isn’t quite many of those albums. The Blueprint however is one of them, and it can easily be classified as the most influential hip hop album of that decade. Actually for 4-5 years to come people would follow the production standard set on this album. It was the emergence of the Kanye West and Just Blaze sound, sometimes called chipmunk soul, with clap drums and a catchy soul sample that is often sped up. Both producers would work on that sound for years to come, but this is really where it became a staple. The Blueprint is also a Jay-Z album, in the sense that there aren’t any guests artists outside of a lone Eminem appearance. Especially after The Dynasty, Jay-Z wanted to show his skills without putting his crew on. That’s good because he’s easily the best in Roc-A-Fella records, as much as I like Beanie Sigel and Freeway, they can’t really compete with Jay-Z that’s one of the all-time greatest. So with groundbreaking productions and Jay-Z rapping solo, this is bound to be a classic? Well hell yeah it is. There are a little inconsistencies on the album, but there’s just so many moments of genius that it’s a pretty hard one to deny. There’s one thing that people rarely say about Jay-Z’s performance here, is that it’s he’s not quite as good as he was in 96 to 99. Yes even if his albums in the late 90s aren’t really as well acclaimed, he did rap at his best on those. Not to say that he doesn’t offer a great performance here (he’s still easily one of the top rappers of 2001), it’s just a little less than Jay-Z can do. But still that doesn’t stop The Blueprint from much, it’s still a cornerstone of 2000s hip hop and easily one of the best in his discography. 

Number 9.  –  “The Argument” – Fugazi

Fugazi’s apex is also a strong candidate for best album of the 00’s. Although retaining the same recording engineer and studio (inner ear) as the last two albums, the Fugazi sound on The Argument has shifted into a cerebral, murky wash of beauty and noise. They’ve done the impossible by making their most melodic, accessible record still somehow extremely dense and challenging. The contrast is most noticeably jarring on “Full Disclosure”, where female backing vocals adorn the catchy chorus and the guitar line during the bridge is just bursting with joy; the rest of the song is this ugly, shrieking mess of guitars, sinking into an atonal madness. As if their palate wasn’t expanded far enough already, nearly every song implements second drummer Jerry Busher, whether its behind a drum kit or on percussion. Other songs may feature piano, cello, vibes or even acoustic guitar, often as the focal point of the song. The brilliant “Strangelight” includes both piano and cello sharing a riff toward the end that repeats for ages while the chords get more abstract. Probably the darkest thing this band ever got, it sounds like no other song in their catalog and it’s easily one of my favorites. I’m at a loss as to what else I can say. Ian MacKaye’s hoarse shouts have been reduced to actual singing and Guy’s voice is as sexy as ever. Like I said before, the experimentation level is still incredibly high but there’s at least one part in every song that you can easily hum along to. And the way they build off simple ideas is masterful. In “Ex-Spectator”, the guitars play an easy riff at 1:29 that in the early days would probably function as the basis for the whole song. Instead, they’ve inserted it briefly in between the verse and chorus so it sounds out of place the first time, then they return to it a second time later in the song, expanding on it by adding contrasting guitar lines and bass so when they enter the chorus again it fits seamlessly. These types of things are all over this record. I marveled at it 9 years ago and my adoration hasn’t waned in the slightest.

Number 8.  –  “Toxicy” –
System of a Down

I have always felt that System Of A Down was one of if not the most creative metal bands in the entire history of the genre. Sometimes for better and sometimes for worse it’s true. The experimental nature of these four Armenian guys hasn’t always payed off. And I will be the first to say that more often than not it worked against them. But one thing can never be taken away from them, and that is that Toxicity is one of the very best metal albums of all time. See, everything clicked here and everything worked here, and in spades. from the start of ‘Prison Song’ to the end of ‘Ariels’ melodic guitar progression it just works. I will say that whatever that bonus track is supposed to be, it didn’t need to be and for me is the only thing that keeps Toxicity from being a full five star album. It was just unneeded. Argue as much as you want, but Toxicity proved without a shadow of a doubt much like White Pony did for Deftones, that System of a Down was not just another horrible Nu-Metal band. They had something else, something more. Sure they had that whole nu-metal feel but with Toxicity they proved more while bringing in aspects of their punk influences and making their obvious Thrash Metal influence all the more obvious. This hybrid with quirky time signatures and light-hearted vocals met with heavy down-tuned guitars and screaming vocals when necessary. Toxicity is a treasure in a genre that has all but lost its zest and appeal and has, much like country music, become a parody in and of itself.

Number 7.  –  “White Blood Cells” –
The White Stripes

Garage Rock is pretty interesting, I love the sound of it anyways, and most people would say that the ideal Garage Rock band (a revival band though they may be) are The White Stripes. The first song I heard by The White Stripes was “Fell in Love with A Girl” (I think every one’s was if not “7 Nation Army”), and though that is pretty much the fastest and most punk/garage song on the album, the heavier but more in-depth blues rock songs are really good as well and remind me of Black Keys a good bit (They were my first modern Blues Rock band so excuse me if you don’t like that comparison). Even though just based off of “Feel In Love with a Girl” I didn’t get what I expected at all but it was still really enjoyable with songs like “Dead Leaves and the Dirty Ground” “Expecting” “Offended in Every Way” and “I can’t Wait”. Also softer (or more ballad like) songs I thought were really interesting and done very well were “I’m Finding it Harder to be a Gentle Man”, “The Boy You’ve Always Known” and the more familiar (from who knows where) “We’re Going To Be Friends”.  Although White Blood Cells did not turn out to be the Savior Of Rock Music music journalists anticipated it would be, it is still a prime artifact of the early part of the decade – and, I must add, a quite good one.  Although the chords are simple and, like R.E.M. in the early ’80s, the song structures tend to repeat themselves rather than “innovate”, each song is classic and has something to offer.

Number 6.  –  “I Get Wet” – Andrew W.K.

Andrew W.K. is some kind of enigma, a prophet for everything precious that’s left to worship in these cynical, modern times. In other words: He’s a prophet of The Party. His principle is the ‘everything louder than everything else’-formula and the constantly present urge for true Rock & Roll and rebellious ‘Fuck You’-attitude that young people (and those who stay young at heart) demand. These are not songs, these are principles – impossible to ignore and always over-the-top. You think it could get louder, there could be another layer of sound, another hook or more screaming and there it comes! It’s full of riffs, simple melodies and one-liners you never can get out of your head. Fuck smart music anyhow, I’d rather be part of the Neanderthal-crowd and sing on those tribal “Fun Night”-shouts.. He stands in a long line of tradition. It’s funny indeed that nothing really compares to this: You may mention the steamroller, no-bullshit attitude of early Rock’n’Rollers Jerry Lee Lewis or Little Richard that is present as well as the self-explanatory bareness of former (70s) prophets Meat Loaf and Ramones (who of course totally contradict each other). You hear traces of that non-compromising Damaged-feeling as well as the declarative vocal powress of Scooter! Actually, you can add whatever else comparisons of music that brings you down to your basic human instincts – this is just my version of how to describe this post-modern power-cocktail! It must be heard to believe and it sure will evoke something in you. Truly the most glorious album of the 2000s.

Number 5.  –  “Lateralus” – Tool

There’s nothing out there quite like Lateralus. It goes well beyond what makes a great album, as it intentionally operates on an entirely different level. The ambitions attempted on it are nearly unrivaled. A record filled to the brim with astrological, philosophical, spiritual, musical, and lyrical ideas, all of which have these intrinsic symbols, metaphors, and secrets that took fans literally years to figure out (there may even be more, who knows?), and yet at the same time it seems effortless.  Plus, this features all of the band members at their most innovative peak. Every track has masterful musicianship that isn’t just interesting BECAUSE it has strange time signatures, ethnic sounds, or progressive instrumentation, it’s interesting because all of it works to creating songs that sound unbelievable. It doesn’t just sound like an experiment gone wrong of people showing off. It all just comes together and somehow works.  You can’t just find one track that is the “really great Danny Carrey drum song” or “one of the best vocal performances by Maynard”, all of the songs have the members channeling something that they tap into to make them the collective entity that is ‘Tool’. I don’t know, I really, really love Aenima and each song off that record is a classic, but it doesn’t have the profound philosophical and musical sense that Lateralus has. It’s kind of a Sophie’s Choice dilemma. I tend to listen to songs fromAenima much more, but at the same time, when I want to listen to Lateralus, I prepare myself for it and take time out of my day to do so, as if it were an event. To put it simply, it sounds as it were made by super-humans or something.

Number 4.  –  “Gorillaz” – Gorillaz

Witness Gorillaz self-titled first album.  The record earns mixed reviews on RYM and I can grasp some of the reason why.  My take on Gorillaz is that it was Damon Albarn’s attempt to break out of the creative cul-de-sac that he felt he’d reached with his day job band.  And fair play to him for trying something bold in response.  (Although it’s clear in retrospect just how divergent this direction was from his past and future partner in crime.).  Gorillaz reads to me like a sprawling, spliff-infused mess.  Like the The Clash’s Sandinista!, the only coherent theme here is a cannabis-inspired freewheeling spirit. But that’s all beside the point for this reviewer.  Before I-pods permitted random track selection from thousands, we mortals frequently tromped around listening to the same set of CDs and tapes until they were worn out.  There was some valor in that, too.  For me, it was heady process of self realization navigating the streets of Berlin in 2001 during my days there at the Freie University.  “Tomorrow Comes Today” is the Gedächtniskirche, “19-2000” is my nondescript student housing in the southern exurbs,  “5/4” still brings memories of the pock-marked walls near Pankow.  I reach out to trace my fingers along the cold concrete when it plays.  They’re treasured snapshots from my own memory that, of course, I’m helpless to truly communicate to anyone else. The melodies will take your mind back to places it would never find otherwise. I owe Damon and the rest at least four stars for an album that, for all its hits and misses, remains indelible to me.

Number 3.  –  “Blackwater Park” – Opeth

Opeth’s fifth album is widely considered one of the best metal album of all time, and is by many more loved than those early classic metal albums like “Master Of Puppets”, “Rust In Peace”, “The Number Of The Beast” and many others. I too feel like this album challenges me and interests me more than those timeless masterpieces. Indeed, “Blackwater Park” is THE progressive death metal album, along wih the previous effort by the band “Still Life”.  What makes this so universally acclaimed is that it’s probably the most accessible death metal record, thanks to the crushingly beautiful moments that are here present. But die hard death fans will also be satisfied, with the powerful, yet complex riffs that are the true skeleton of each of these eight songs. The production is crystal clear, the mixing is fantastic, everything here sounds so beautiful and graceful, even if it’s an indeed violent record. The guitars are crunchy and thick sounding as hell, the vocals are amazingly brutal when leader Akerfeldt growls, the drums are as sharp and precise like never before. These qualities guarantee though the style of this particular record; each song, long as it is, has many time changes, a lot of hooks, different melodies; it gets from loud and violent to a soft, melancholic piece that makes your soul shiver, to get loud once again. “The Leper Affinity”, “Bleak”, the title track and “The Drapery Falls” all use this formula, even though they all have completely different structures. These epic songs are the ultimate towers of the album, while the other tracks seem simply to give yet another touch of perfection and decoration, so that the album turns out as it is. For Example, “Harvest” is a great, memorable but quite sad sounding ballad, and on the contrary “The Funeral Portrait” is the heaviest song here. “Blackwater Park” is the essential Prog metal album, a masterpiece to bow to. Everything about this album excites me and satisfies me completely. This is one of those perfect metal albums that makes you proud of liking and being a fan of the genre.

Number 2.  –  “Is This It?” – The Strokes

You know life has so many downs that sometimes you have to remember that it could be worse wherever you are at now, no matter what the circumstances. You should never put yourself lower than where you already are, which is what this generation feels like it has been; Japan has the highest suicide rates, the emo movement lasted throughout the decade, and more, it just isn’t what the world needs. What people should need is an inspiration and a good role-model that they can look up to and realize that there’s always a chance. The Stroke’s “Is This It,” will guarantee to bring anyone up from hard times and try to make anyone happy again. I got to say, out of all the indie rock albums I’ve seen, this one will make sure to shake your booty as you’re listening to dance-music when the songs picks itself up. “Is This It” is the best representation of what New York rock music truly is and these days, even the Strokes know they’ll never make another record this good. The one thing I adore about this list of songs in “Is This It” is that the lyrics for all of their songs are easily relatable to almost anyone, dealing with subject matters such as waiting, broken relationships, regrets, disappointments, stress, giving up, and loneliness, but somehow managed to turn those subjects that sounds negative and turned it positive, as if we all faced the same issue, but feel good that it’s not any worse than that. This was a fantastic opportunity to finally put garage rock into the mainstream and it’s remembered as to one of the best albums of the 2k’s.

Number 1.  –  “Discovery” – Daft Punk

What I find most disappointing about music today is that I can only find very few albums that came out this past decade to be quite as good or just as groundbreaking as Daft Punk’s “Discovery.” Every song, every note, every beat, every instrument used, every writing, and every second of each & every song in Discovery was just made perfectly and made it unforgettable. Daft Punk made this album based on their childhood in the 70’s & their personal relationship with that time of their lives. The theme really colors this album entirely; so colorful in fact that it makes their listeners to feel like kids. It took every popular music genre in the 70’s and mixed it with modern electronic instrument to feel like a ride of a life time to appeal anyone with any musical taste. All of their songs succeeded wildly, dissolving a decade-plus of dance music good taste. Anyone who’s anyone has a favorite song in this album, but of course the obvious choices are “One More Time,” “Harder, Better, Faster, Stronger,” & “Aerodynamic,” but my favorite song in this entire album would probably be “Digital Love,” because it’s the best love song I’ve ever listened to and still cherish it ever since. When there’s an album, I usually find myself thinking if only they could organized the song better, used the solos more than they left off, or made some of the songs longer/shorter (especially some of the albums in this list), but in Discovery’s case, there’s no possibility of me thinking that I could make this album better because this album showed me that perfection is believable. The electronic music industry owes a lot for Discovery for bringing much more recognition to the electronic genre. This album is so inspirational that several other artists such as Kanye West, LCD Soundsystem, and more couldn’t simply ignore them. This album was popular enough to get itself a movie, Interstella 5555, which purpose was show the visual realization of the album as a whole. Clearly, Discovery is the album that made Daft Punk world-wide fame and the legacy of this very album still lives on. Discovery’s reputation as being the best of the decade is truly deserved. This is perhaps one of the most celebrated albums I’ve ever encountered and yet, I refuse to stop celebrating this brilliant piece of music. I’ve met a lot of people who doesn’t believe in perfection, but I strongly disagree with them after listening to Discovery.

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