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Top 25 Metal Albums of the 2010s

on November 08, 2019, 1:33pm
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25. Zeal & Ardor – Stranger Fruit (2018)

Zeal & Ardor - Stranger Fruit

One of the decade’s true pioneers in heavy music is Zeal & Ardor mastermind Manuel Gagneux, a Swiss-American musician who grafted slave spirituals onto a bed of extreme and industrial metal. Zeal & Ardor’s debut, Devil Is Fine, boasted one instant-classic song (the title track) alongside a number of solid cuts. Sophomore effort Stranger Fruit cashed the check the original wrote, with a bumper crop of indelible choruses plumbing the depths of occult wickedness in the blues. Defiant and delightful, Zeal & Ardor is one of metal’s most original contributions to the pop music tradition. Opposing white supremacy while in league with the devil, it’s one of a kind. –Joseph Schafer


24. Megadeth – Dystopia (2016)

Megadeth - Dystopia

Dystopia marked a crushing return to form for thrash metal legends Megadeth both sonically and artistically. Dave Mustaine returned to his favorite lyrical topics of conspiracy and corruption, and new guitarist Kiko Loureiro and Lamb of God drummer Chris Adler provide the musical spark that was lacking on Megadeth’s previous two albums, 2013’s Super Collider and 2011’s Th1rt3en. By comparison, Dystopia sounds massive, with a thick low-end and no-frills production that gives the album a live-in-the-studio aesthetic. This works in the band’s favor, presenting their technical musicianship plainly and without mixing gimmicks, which have sometimes convoluted latter-era Megadeth recordings. It’s straight-up thrash metal, and that’s all the band needed to notch their first-ever Grammy for Best Metal Performance in 2017 for the album’s title track. —Jon Hadusek


23. Pallbearer – Sorrow & Extinction (2012)

Pallbearer - Sorrow and Extinction

Rising from the humble underground scene in Little Rock, Arkansas, Pallbearer conjured the magic and mysticism of classic doom metal with their debut album, Sorrow & Extinction. From the haunting acoustic intro of “Foreigner” to the transcendent cascading post-metal of closer “Given to the Grave”, the album evokes images of otherworldly realms, decaying catacombs, and smoky canyons. The songs build like slow epics, with lyrics that read like pleas from a tome of ancient poetry. Pallbearer create a suspended disbelief and fantastical atmosphere on Sorrow & Extinction, as if by listening to the album we are transported into its thematic universe, like a fantasy novel or roleplaying game. The band released two solid albums after this, but has yet to top their timeless debut. —Jon Hadusek


22. Voivod – The Wake (2018)

Voivod - The Wake

What is it with Canada and prog? Rush, Triumph, Saga, Max Webster, Klaatu … the list is endless. But what about Canadian sci-fi-thrash-prog? Voivod were deemed supreme rulers of this genre long ago (admittedly, without much competition) and continue on their merry way with 2018’s The Wake. The veteran group’s 14th studio effort overall contains all the hallmarks of a classic Voivod offering, including “Obsolete Beginnings” (the apparently required speedy album opener), “The End of Dormancy” (which takes many unexpected twists and turns), and “Always Moving” (which merges psychedelia and thrash!). More than 35 years into the band’s career, it’s good to know that fans can always count on the Voivod lads to stay strange — as heard throughout The Wake. –Greg Prato


21. Kvelertak – Kvelertak (2010)

Kvelertak - Kvelertak
Norwegian quintet Kvelertak had their sound locked in from the jump and haven’t veered from that path in the decade since their self-titled debut was released in 2010. And why would they mess with a winning formula? This band have perfected a sound that skims the edges of parody, right where power metal, boogie rock, and glam wiggle and ooze together like primordial creatures in mating season. The X factor for Kvelertak — the band and the self-titled album — was the vocals of since-departed frontman Erlend Hjelvik. Where you would expect a wail or a croon, he gave you shouting and growling and a death metal-inspired fury. Mix all these elements together for volatile results. –Robert Ham


20. Tool – Fear Inoculum (2019)

Tool - Fear Inoculum

Perhaps no other album in the 2010s was as highly anticipated as the new Tool LP … and Fear Inoculum did not disappoint. In fact, you could make a checklist and mark off the following prerequisites — mysterious album title, eye-popping artwork, zen-like lyrics, rubbery guitar riffs, prog-metal song structures, etcetera, etcetera. But when you’ve hit upon such an original-sounding and winning formula as Tool, why the heck change it? And while the 13-year gap (!) between Fear Inoculum and their previous offering, 2006’s 10,000 Days, came dangerously close to Chinese Democracy territory, the layoff did not dull the band’s focus — as exemplified by the slowly unwinding album-opening title track, plus “Pneuma” and “7empest”, while also saving some space to get a little artsy-fartsy (“Chocolate Chip Trip” and “Mockingbeat”). –Greg Prato


19. Mastodon – The Hunter (2011)

Mastodon - The Hunter

Following two lofty concept albums, Mastodon returned with an album that is nothing of a concept piece. On 2011’s The Hunter, the band fleshed out a meat-and-potatoes metal record, with each track presenting a contrasting style and sound. The Hunter may not be as cohesive as Mastodon’s concept albums, but that’s the point — and that’s the beauty of it. The LP features Mastodon pushing themselves outside their musical comfort zone, whether it’s introducing a wild-and-crazy riff or going with nearly exclusively clean vocals. Standout tracks include the album’s dark title track, which was written about guitarist and vocalist Brent Hinds’ brother, who passed away after suffering a heart attack while hunting, and “All the Heavy Lifting”, with its massive chorus and mighty riffing. While Mastodon would follow The Hunter with two more solid efforts, the 2011 disc stands as the band’s strongest release of the decade. –Anne Erickson


18. Marilyn Manson – Heaven Upside Down (2017)

Marilyn Manson - Heaven Upside Down

The 2010s were a good decade for Marilyn Manson. After a bit of a musical slump in the first 10 years of the 21st century, he upped his game with Born Villain in 2012 and the Pale Emperor in 2015. While Manson’s eponymous band has seen a revolving door of members, working with film composer Tyler Bates seemed to reinvigorate Manson’s creative spirit, and the duo really outdid themselves in 2017 with Heaven Upside Down. The album is tight all the way through with no filler, highlighted by the punk-ish sound of “Revelation #12”, the quirky groove of “Tattooed in Reverse”, the sexy sleaze of “Kill4Me”, and the epic ballad “Blood Honey”. Manson’s new sound has definitely evolved over time into something equal parts alternative, industrial, rock, metal, and country all converging into something as fresh as it is familiar, solidifying it as one of the top albums of the 2010s. –Colette Claire


17. Opeth – In Cauda Venenum (2019)

Opeth - In Cauda Venenum

Long gone is the death metal stylization that made for the first chapter of Opeth; nowadays, the veteran Swedish band are more interested in tapping into various blends of psych-rock, blues, and folk. While they’ve been utilizing these genres throughout their previous few records, In Cauda Venenum sees frontman Mikael Åkerfeldt and company fully realizing their artistry. Not only does the record display a plethora of enchanting sounds, but each track captures the band’s progressive mentality. From the bombastic drumming and wild flourishes of guitar and bass, In Cauda Venenum exudes a lovely serene nature. Each cut makes for a fascinating composition, presenting unique structure and style. In Cauda Venenum is a superb step forward for Opeth, as well as a stunning addition in the world of progressive metal. –Michael Pementel


16. Windhand – Grief’s Infernal Flower (2015)

Windhand - Grief's Infernal Flower

For their third full-length, Richmond doom metal band Windhand enlisted legendary Seattle engineer Jack Endino, responsible for some of the grunge era’s most lauded recordings. Warm, golden amp tones emit from the tracks on Grief’s Infernal Flower, though the songs here are far from bright. Vocalist Dorothy Cottrell sings with a sultry pain, her words contemplating bleak phrases of sadness and despair. The band’s stoner rock leanings are restrained into a droning catharsis, and while there’s still plenty of heavy riffs, they’re focused to compliment the album’s emotional weight. There’s a personal yearning to Grief’s Infernal Flower due to the palpable honesty in Cottrell’s voice, not unlike that of the inimitable Mark Lanegan, whom Endino also recorded in Seattle nearly three decades before working with Windhand. —Jon Hadusek

Click ahead to see more of our Top 25 Metal Albums of the 2010s…


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