The 100 Best Metal Albums - Ever!

The Batlord · 02-12-2023, 09:41 AM

I love Paul. There's no way he wasn't wasted recording his vocals and he just sounds like he's having more fun than anyone ever has screaming like an unprofessional lunkhead.

Trollheart · 02-19-2023, 08:58 AM

99.

Title: Slaughter of the Soul
Artist: At the Gates
Nationality: Swedish
Year: 1995
Sub-genre: Melodic Death Metal
Familiarity: Heard it once before, probably for “Love or Hate”
Listens: 10 (I didn’t need 10 listens to appreciate it; I just loved it so much I couldn’t stop playing it!)

Track-by-track

“Blinded by Fear”

There’s the sound of some sort of machinery creaking into gear before the twin guitar attack takes you right between the eyes and the album explodes out of the, ahem, gate. This opener hammers along, and though Tomas Lindberg is screeching and screaming the vocal, I can understand almost all of what he sings. A head-pounding start, and it crashes almost directly into the next one, which is of course also the title track.

“Slaughter of the Soul”

I love the pause and then the shouted “Go!” as we launch into the title, and the riff is so cool. Would this not be more thrash metal though, says he, as if he has a clue? Two fine solos here really make the track and it trundles along like an engine gone totally out of control, the driver leaning out of the window screaming “Get the fuck out of the way!” Abrupt ending makes you wonder if it has after all slammed into something.

“Cold”

The shredding just slays on this, boogieing along like a good thing, Lindberg screaming and growling like a demented metal version of Waits. Fantastic hook in the melody and it just makes you want to bang your head, though unfortunately my headbanging days are long gone, along with my long hair. Sigh. The neoclassical solo in the middle is completely unexpected, and yet somehow fits in perfectly. Something that really drives this song though is the drumming, which is just about perfect. As is almost everything about it, right up to the screeching, cliffhanging ending where the squeal of the guitar is like the train coming off the rails and tipping over.

“Under a Serpent Sun”

Having just barely managed though to remain on the rail, the train is now righted and rattling along with power and purpose, another great hook emerging in the battering riffs. A really odd little ringing guitar bit which reminds me of Pendragon (shut up) with speech samples and then the drums really take everything forward as the guitars come kind of slowly back into it. To continue our stupid analogy, it’s like the train had to slow down and now is building speed back up again.

“Into the Dead Sky”

The first of two instrumentals, this one really showing how talented the guitarists are, and how they can rack out more than just shredding. A really nice, introspective piece that allows you to catch your breath before we plunge headlong back into it.

“Suicide Nation”

As if frustrated at having been sidelined for the previous track, Lindberg really lets loose on this one, and the boys are in fine form on the frets, blasting power chords not only left and right, but also, I’m reliably informed, centre. Oh we rockin’ now!

“World of Lies”

Slowing things down slightly here with a snarling grinder that pounds along, ripping up the pavement, crushing cars in its mighty fists and looking for a fight. Probably wise to just let it pass on by; don’t come out of hiding. Quickly ramps up and just goes for the fucking throat, man.

“Unto Others”

Keeps up the pressure like someone stepping on your neck and then releasing it for a moment, only to put on football boots so it hurts more. Smashing, thundering, pounding along at a mile a minute with the catchiest hook yet in the song. Fucking superb.

“Nausea”

Here the boys seem to decide it’s time to stop pissing around and really put the pedal to the metal, pun intended. It’s been slow and relaxed so far compared to the breakneck speed and power of this song. And I love it. The drummer grows an extra pair of arms. He must, or else how can he do that?

“Need”

Possibly my favourite on the album, though it’s hard to pick one. The hook here just gets into your head and does not let go.

“The Flames of the End”

Completely unexpected ending. I have no idea who plays the keys here, but it’s definitely a keyboard/synth or else some sort of orchestral thing. I’ve searched but I can’t find any credit for the keys or the main melody. I did think it was possible it could be made on guitar but there is no way that’s a guitar, not even a guitar synth, if ATG use one. Maybe it’s a sample? Surely not: it’s the whole piece. Anyway, it’s different and it’s like suddenly getting a shower of warm water after being in a block of ice for hours. Excellent.

Comments: You’ll find differing opinions on this album from various quarters. Some call it At the Gates’ sell-out album, and accuse them of trying to be Metallica. Others will remark that it was the album which perfectly defined and set in stone the sound of what would be the Gothenburg metal scene. What’s not in dispute is that it is an essential metal album, and led the way for other melodic death metal bands. It was also the last album At the Gates released before breaking up for 11 years, not to reform until 2007, but what a hell of a mini-legacy to leave behind! You know, for many years I grappled unsuccessfully with the concept of melodic death metal. To me, death metal was loud, abrasive, aggressive, and devoid of anything I could call melody.

Well, now I get it.

Not only can I pick out superb guitar passages and even - gasp! - hooks here, but there are several really intricate and clever instrumentals, showing that these guys don’t just bash out the riffs and shred till the amp explodes. As I mention above, this review is now my eleventh straight listen to this album, and to be honest, I could listen to it another eleven times, if I had not work to be getting on with. It’s just that good, and to be honest, I kind of fume that it’s so low on this goddamn list, nearly at the very bottom. But hey, what do they know, right? It pummels and pounds you into submission from the beginning, singer Tomas Lindberg screaming in a different way to Paul Baloff, somewhat more subtly perhaps, and with a wild sense of energy and abandon.

But as I say, it quiets down too, which I have to admit I would not have expected on a death metal album. The instrumentals are quite superb, with a really crazy ending. Damn I love this album. Maybe just one more play…

Oh wow look! It broke my rating meter!

Rating:

https://www.youtube.com/watch?v=Q7KLYbFiM80

Synthgirl · 02-19-2023, 11:43 AM

Heck yeah, Slaughter of the Soul totally rules.There’s a reason every early 2000s metalcore band tried their best to rip it off.

The Batlord · 02-19-2023, 11:54 AM

God I love that album. Btw the crazy feedback in the last track was made by the guitarists strapping on their guitars and wrestling in the studio. I can only imagine they got the idea from getting in an actual brawl onstage.

The Batlord · 02-19-2023, 11:56 AM

Quote:

Originally Posted by Synthgirl

Heck yeah, Slaughter of the Soul totally rules.There’s a reason every early 2000s metalcore band tried their best to rip it off.

As much as I love both At the Gates and 90s metalcore their influence definitely helped to ruin the genre.

Synthgirl · 02-19-2023, 12:18 PM

Quote:

Originally Posted by The Batlord

As much as I love both At the Gates and 90s metalcore their influence definitely helped to ruin the genre.

I have a ton of high school nostalgia for that mid-2000s melodeath/thrash influenced metalcore wave honestly. Reminds me of the Guitar Hero days.

Trollheart · 02-19-2023, 01:55 PM

Quote:

Originally Posted by The Batlord

God I love that album. Btw the crazy feedback in the last track was made by the guitarists strapping on their guitars and wrestling in the studio. I can only imagine they got the idea from getting in an actual brawl onstage.

Yeah but that was a synth wasn't it? It had to be.

The Batlord · 02-19-2023, 02:32 PM

Quote:

Originally Posted by Trollheart

Yeah but that was a synth wasn't it? It had to be.

There's synth and then there's feedback.

Trollheart · 02-19-2023, 06:47 PM

I'm only a novice at this, but isn't it unusual to hear synth on a death metal album?

The Batlord · 02-19-2023, 08:49 PM

Generally yes.

02-19-2023, 08:58 AM	#32 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	99. Title: Slaughter of the Soul Artist: At the Gates Nationality: Swedish Year: 1995 Sub-genre: Melodic Death Metal Familiarity: Heard it once before, probably for “Love or Hate” Listens: 10 (I didn’t need 10 listens to appreciate it; I just loved it so much I couldn’t stop playing it!) Track-by-track “Blinded by Fear” There’s the sound of some sort of machinery creaking into gear before the twin guitar attack takes you right between the eyes and the album explodes out of the, ahem, gate. This opener hammers along, and though Tomas Lindberg is screeching and screaming the vocal, I can understand almost all of what he sings. A head-pounding start, and it crashes almost directly into the next one, which is of course also the title track. “Slaughter of the Soul” I love the pause and then the shouted “Go!” as we launch into the title, and the riff is so cool. Would this not be more thrash metal though, says he, as if he has a clue? Two fine solos here really make the track and it trundles along like an engine gone totally out of control, the driver leaning out of the window screaming “Get the fuck out of the way!” Abrupt ending makes you wonder if it has after all slammed into something. “Cold” The shredding just slays on this, boogieing along like a good thing, Lindberg screaming and growling like a demented metal version of Waits. Fantastic hook in the melody and it just makes you want to bang your head, though unfortunately my headbanging days are long gone, along with my long hair. Sigh. The neoclassical solo in the middle is completely unexpected, and yet somehow fits in perfectly. Something that really drives this song though is the drumming, which is just about perfect. As is almost everything about it, right up to the screeching, cliffhanging ending where the squeal of the guitar is like the train coming off the rails and tipping over. “Under a Serpent Sun” Having just barely managed though to remain on the rail, the train is now righted and rattling along with power and purpose, another great hook emerging in the battering riffs. A really odd little ringing guitar bit which reminds me of Pendragon (shut up) with speech samples and then the drums really take everything forward as the guitars come kind of slowly back into it. To continue our stupid analogy, it’s like the train had to slow down and now is building speed back up again. “Into the Dead Sky” The first of two instrumentals, this one really showing how talented the guitarists are, and how they can rack out more than just shredding. A really nice, introspective piece that allows you to catch your breath before we plunge headlong back into it. “Suicide Nation” As if frustrated at having been sidelined for the previous track, Lindberg really lets loose on this one, and the boys are in fine form on the frets, blasting power chords not only left and right, but also, I’m reliably informed, centre. Oh we rockin’ now! “World of Lies” Slowing things down slightly here with a snarling grinder that pounds along, ripping up the pavement, crushing cars in its mighty fists and looking for a fight. Probably wise to just let it pass on by; don’t come out of hiding. Quickly ramps up and just goes for the fucking throat, man. “Unto Others” Keeps up the pressure like someone stepping on your neck and then releasing it for a moment, only to put on football boots so it hurts more. Smashing, thundering, pounding along at a mile a minute with the catchiest hook yet in the song. Fucking superb. “Nausea” Here the boys seem to decide it’s time to stop pissing around and really put the pedal to the metal, pun intended. It’s been slow and relaxed so far compared to the breakneck speed and power of this song. And I love it. The drummer grows an extra pair of arms. He must, or else how can he do that? “Need” Possibly my favourite on the album, though it’s hard to pick one. The hook here just gets into your head and does not let go. “The Flames of the End” Completely unexpected ending. I have no idea who plays the keys here, but it’s definitely a keyboard/synth or else some sort of orchestral thing. I’ve searched but I can’t find any credit for the keys or the main melody. I did think it was possible it could be made on guitar but there is no way that’s a guitar, not even a guitar synth, if ATG use one. Maybe it’s a sample? Surely not: it’s the whole piece. Anyway, it’s different and it’s like suddenly getting a shower of warm water after being in a block of ice for hours. Excellent. Comments: You’ll find differing opinions on this album from various quarters. Some call it At the Gates’ sell-out album, and accuse them of trying to be Metallica. Others will remark that it was the album which perfectly defined and set in stone the sound of what would be the Gothenburg metal scene. What’s not in dispute is that it is an essential metal album, and led the way for other melodic death metal bands. It was also the last album At the Gates released before breaking up for 11 years, not to reform until 2007, but what a hell of a mini-legacy to leave behind! You know, for many years I grappled unsuccessfully with the concept of melodic death metal. To me, death metal was loud, abrasive, aggressive, and devoid of anything I could call melody. Well, now I get it. Not only can I pick out superb guitar passages and even - gasp! - hooks here, but there are several really intricate and clever instrumentals, showing that these guys don’t just bash out the riffs and shred till the amp explodes. As I mention above, this review is now my eleventh straight listen to this album, and to be honest, I could listen to it another eleven times, if I had not work to be getting on with. It’s just that good, and to be honest, I kind of fume that it’s so low on this goddamn list, nearly at the very bottom. But hey, what do they know, right? It pummels and pounds you into submission from the beginning, singer Tomas Lindberg screaming in a different way to Paul Baloff, somewhat more subtly perhaps, and with a wild sense of energy and abandon. But as I say, it quiets down too, which I have to admit I would not have expected on a death metal album. The instrumentals are quite superb, with a really crazy ending. Damn I love this album. Maybe just one more play… Oh wow look! It broke my rating meter! Rating: https://www.youtube.com/watch?v=Q7KLYbFiM80 __________________ Trollheart: Signature-free since April 2018

02-19-2023, 06:47 PM	#39 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	I'm only a novice at this, but isn't it unusual to hear synth on a death metal album? __________________ Trollheart: Signature-free since April 2018

02-19-2023, 11:43 AM	#33 (permalink)
Synthgirl Music Addict Join Date: Jan 2023 Location: Cheeseland USA Posts: 154	Heck yeah, Slaughter of the Soul totally rules.There’s a reason every early 2000s metalcore band tried their best to rip it off.