GD’s Most Dominating Albums Of The 1990’s (60-51)

GD’s Most Dominating Albums Of The 1990’s (60-51)

05/04/07  ||  Global Domination

Agalloch: Pale Folklore 60. Agalloch: Pale Folklore

Released: 1999

A lot of people missed the boat on these guys when this album came
out. Everyone was too busy listening to symphonic black metal and
melodic death metal. Agalloch offered a very different product. The
songs were slower and had a mellow, autumnal atmosphere. Resting
somewhere between Opeth and Katatonia, Agalloch’s brand of doomy metal
was unique enough to tell them apart from other wooden sobsters.

The soft production, simple musicianship, and abundance of clean
guitars and vocals helped make this one of the prettiest, most emotional
metal album of the 90’s. This album is practically John Tesh. It’s not
that heavy at all, but holy shit is it amazing!

-Hanging Limbs

Meshuggah: Chaosphere 59. Meshuggah: Chaosphere

Released: 1998

Wow, now here’s a band that just threw metal music up on its ass. HEAVINESS
is so subjective, but it is almost an objective, empirically observable
product of Meshuggah. On “Chaosphere”, the odd time signatures seem
interwoven into a larger structure. And I’ll tell you what holds it
together – the bass. Yes, the fucking bass for once. On this album
especially, sometimes the guitars go off on parts that most would
consider woefully-wrong, if not for the bass that holds it together.
Meshuggah gives it their all on this one.


Seance: Saltrubbed Eyes 58. Seance: Saltrubbed Eyes

Released: 1994

You ready for this? “Saltrubbed eyes” is the best death metal album
ever recorded in Sweden. “Saltrubbed eyes” is also one of the best
albums ever recorded in death metal history. Sadly, this disc is fairly
unknown, but if you are a death metal fan and don’t own this, you are
retarded. Or related to Fishermane. Or a combination of those 2. I don’t
think Seance had the slightest of clues as for what they did on this
one. “Salt-fucken-rubbed fucken eyes” is relentless. It’s insane. It’s
one of the best albums I have ever heard. Ever. And besides
that, it holds one of the best productions you’ll hear in your life.
That bass sound… Man, that bass sound… Thank you Seance, thank you so
fucken much.

-Lord K

(Note by The Mane: Just so our readers know, Lord K clearly
specified that if this album wasn’t on the list, we’d all be fired on
the spot. To make things worse, he’d also mail nude pictures of himself
and Sebastian Bach doing the robot to all our loved ones. Not that we
don’t enjoy “Saltrubbed Eyes”, but it’s not like we had much choice.
Just wanted to clear that up.)

(Note by The Lord: Just so our readers know, Seance rule.)

[Full Review]

Down: Nola 57. Down: Nola

Released: 1995

Phil Anselmo has never sounded as good as he did on this disc. The
sludge is so thick here that you need about 10 bottles of fucken Draino
to get rid of it. The guitar work is really good, using bluesy riffs
with thick clear productions, along with fantastic harmony. There is
definitely a stoner element to the music as well, so much so that if you
take the booklet and hold it up to your nose, you can get a buzz. It’s
true, try it.

-Eric W

Candlemass: Tales of Creation 56. Candlemass: Tales of Creation

Released: 1991

The weakest of the 4 classic Candlemass albums and it’s not even
close to weak. “Tales of creation” hands out hits such as “Dark
reflections” and “Edge of heaven”, the 2 finest Candlemass tunes on this
piece. The production might not be what I want for X-mas but the
material makes up for it. There’s not one single band in the history of
Doom that comes remotely close to what Candlemass did on their 4 first
albums. “Tales of creation” is a fantastic album, there’s no two ways
about it.

-Lord K

[Full Review]

Tool: Aenima 55. Tool: Aenima

Released: 1996

Tool’s always been a bit hard for me to classify. Most say
progressive rock, but I always have a different mental and aural image
of progressive rock. Technically though, that’s probably correct,
because whatever they are, they are progressive (in the literal sense of
the word, not the retro), and in my opinion, this is their best album
to date. Remarkably cohesive and really well produced, it displays many
different shades of light and dark (mostly dark), with even a slight
twist of black humour. Tool have always had this arresting audio spiral
entrenched in their songwriting, and with Aenima it started becoming
really prevalent, notably in the bass work of Justin Chancellor. The
band generally accentuate that, resulting in a somewhat hypnotizing
effect on the listener, not unlike the way you can’t take your eyes off a
fire. It’s quite a deep album, and as much anguish and intensity as it
offers, its not impervious to the odd dalliance with the slightly
bizarre, as displayed, for example, in “Die Eier von Satan”, an apparent
recipe for hash cookies, recited by a demonic Hitler-type with
industrial atmospheric noise and loads of crowd hysteria. It’s a very
long, very rewarding album, with no throwaway tracks (and a couple of
really brilliant ones) which well deserves its place on this list.


Katatonia: Brave Murder Day 54. Katatonia: Brave Murder Day

Released: 1996

“Brave Murder Day” is perhaps the most innovative of the outstanding
extreme-metal releases by Katatonia. The album is not easily
classifiable into a particular metal subgenre; elements of death-doom,
melodeath, and even goth (presaging the alt-goth releases of Katatonia’s
later years) are prevalent on the record. The riffing is drenched with
hypnotic repetition and masterful layering, and the growls are downright
bloodcurdling (and are handled by the none other than Mikael Akerfeldt,
of Opeth fame). Despite the evident influences drawn from different
metal subgenres, the sound on “Brave Murder Day” is wholly original and
rightly revered by fans of dreary, emotional, and unapologetically
gorgeous metal.


Edge of Sanity: Crimson 53. Edge of Sanity: Crimson

Released: 1996

A 40-minute, single-track death metal concept album seems like a
crazy idea. And it was, right up until Dan Swanö and company pulled it
off with style. “Crimson” is so stunning you don’t realize it’s one
40-minute track until it’s over and when it does finish, you find
yourself begging to hear it again. The key is balance. Every second of
this album is worth listening to, and no single part stands out because
it’s all just so damn good. The instrumentation is all spectacular,
with the most memorable riffs and percussion sections reappearing at
different points to give the album an interconnected feeling.

Better yet, the concept is a delightfully over the top sci-fi epic
of political intrigue in a post-apocalyptic future. In the story,
people can no longer procreate and the human race is slowly dying out.
When the King and Queen are slaughtered and the princess, considered
humanity’s greatest hope, is usurped from her throne all hope seems
lost. Through the course of the album she makes a deal with evil forces
and returns to power in glorious violence. When it becomes apparent
that hers will be a reign of terror, it’s quashed by the very rebels who
helped her regain the throne. Fun stuff.

-Stephen Fallen

Ulver: Bergtatt 52. Ulver: Bergtatt

Released: 1994

Ulver may be better known now for being an impossible-to-pin-down
avant-electro-noise mindfuck of a group, but they started their journey
in much more familiar terrain for most metalheads. “Bergtatt”, Ulver’s
debut, is an exercise in folk-tinged black metal which may not seem very
outlandish given the nature of the current folk-metal scene. However,
at the time “Bergtatt” was released, there was scant material available
which was at all comparable to that trend-setting album. The record is
more raw and lo-fi than most contemporary folk metal, but “Bergtatt”‘s
juxtaposition of acoustic passages and raw black metal assaults has a
much more sincere and much less cartoonish gait than almost every
release which is representative of the folk metal of today. With
“Bergtatt”, Ulver was birthed in a manner that set the trajectory which
they have followed into the avant-garde cosmos: they were born as and
have consistently remained peerless innovators.


Danzig: II Lucifuge 51. Danzig: II Lucifuge

Released: 1990

No fan of Danzig can deny that there is a little bit of humour
associated with Glenn Danzig being a bit over-the-top goofy. I mean,
when this album came out (1990) I remember seeing an interview that MTV
did with him (can you believe that?). There was Danzig in some weird
Halford-esque see-thru mesh black thing bench pressing weights in what
looked like a monastery, complete with weird stained glass paintings.
Even at age 12 I knew there was a “dumbtarded” element to it all, but I
couldn’t deny the man’s appeal in terms of metal imagery. So I dove
into this album and got what I was expecting. A very moody metallic
piece with perhaps Danzig’s most over-looked songs, such as “Snakes of
Christ” and “Blood and Tears”. “Her Black Wings” remains one of my
favorite songs from the time period, period. Huh? Anyway, this album
definitely left it’s mark on the world, and all of these sad fucken emo
bands have at least some debt of gratitude to pay to Danzig for wearing
so much goofy black shit.



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This entry was posted on June 14, 2014 by in 1990s - Top 100, Best of, Decades, Lists of Domination.
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