GD’s Most Dominating Albums Of The 1990’s (90-81)

GD’s Most Dominating Albums Of The 1990’s (90-81)

29/03/07  ||  Global Domination

Massacre: From Beyond 90. Massacre: From Beyond

Released: 1991

This one was a kind of set-pacer for all bands that appeared
afterwards. Rick Rozz’s guitars on “From Beyond” were an extremely solid
piece of work at the time, and his crushing riffing still remains
unequaled. The songs were not necessarily the best ones around, but they
were written in the early period of death metal when today’s standards
were nonexistent. Although the album is sloppy at times, it’s still a
perfect example of metal done the right way. It’s hard to diminish its
value because it included aspects that often go unseen/unheard of these
days – dark and evil atmospheres surrounding the production. And it also
contains “Cryptic Realms”, which is a tune that every new band dreams
of having written themselves.


Malevolent Creation: Retribution 89. Malevolent Creation: Retribution

Released: 1992

Malevolent Creation is another one of those American bands that
played a crucial role in the development of the initial scene, helping
to forge what would become the early blueprints for technical death
metal, on the slightly brutal tip. They’ve released a substantial amount
of albums, changed their line-up numerous times, earned the respect of
many fans but somehow, they’ve always managed to remain in the shadow of
more established bands like Suffocation, Cannibal Corpse, Morbid Angel,
etc. Do people still give a fuck about Malevolent Creation in 2007?
Save your breath Nancy, it was a rhetorical question.

Interestingly enough, “Retribution” relied more on frequent
tempo-changes and elaborate song-writing techniques rather than a
full-on blastfest. Furthermore, the music gives the impression that it
was written to accommodate Brett Hoffman’s vocals, instead of the other
way around. His growls flow effortlessly over the compositions, as
opposed to sounding forced into the melodies. 15 years later, although
“Retribution” has begun to succumb to the proverbial sands of time, it
looks pretty damn fine for its age. Remember, some of the alternatives
for music in 1992 include The Spin Doctors, Tom Cochrane, The
Lemonheads, Soul Asylum, Green Jelly, well you get the idea…


Satyricon: Rebel Extravaganza 88. Satyricon: Rebel Extravaganza

Released: 1999

Satyricon are famous for being one of the forefathers of Norwegian
black metal. Their “Nemesis Divina” album is praised by many metalheads,
but it was “Rebel Extravaganza” that set a new standard in the music
genre. No one ever thought that there was a way to record material that
would be hyper-fast, chaotic, but still catchy as hell. Satyr and Frost
must have absorbed serious drugs, smoked a lot of weed and listened to
some transcendental voice coming from outer space. This album is sick.
And beautiful. Combined. Simply avant-garde metal to the max.


Gorguts: Obscura 87. Gorguts: Obscura

Released: 1998

Gorguts were considered a somewhat notable band in the early 90s
death metal scene, but they would probably be a mere footnote if it were
not for their unorthodox renaissance in late 1990s. “Obscura”, with its
discordant and darkly complex riffs, ushered in that new era for the
band. There was really no distinct musical precedent for the snaking,
time-change-filled slab of sound that Gorguts proffered with Obscura,
aside from latter-era Pestilence, perhaps. This album bears little
resemblance to the tech-death that has become so prevalent in the death
metal scene today. It is mostly mid-paced, rather than a blazing-fast
“Hey look what I can do!” wank-fest. “Obscura” contains oodles of
stifling and dreary atmosphere, and that atmosphere is what makes the
album a true avant-metal classic.


Pungent Stench: Dirty Rhymes 86. Pungent Stench: Dirty Rhymes and Psychotronic Beats

Released: 1993

Nothing about Pungent Stench made much sense. 3 sickos from Vienna
mixing death metal, dark humour, porn, latex and gimp masks together to
create a rather gruesome concoction. Pungent, indeed. While
their earlier recordings were highly significant in their own right,
“Dirty Rhymes…” really established these Austrians in a class of their
own. The kind of “special” class that rides their own bus to school. The
original cover of this album was so offensive that it eventually
spawned 3 different versions, each with various degrees of censorship.
Fortunately, the music was left undisturbed. How lucky for us…

There is no sense in trying to paint a visual portrait of what this
album represents. We’d all get nauseous. To appreciate “Dirty Rhymes…”, a
casual listener requires a slight appreciation for groovy death metal
(slightly on the rock tip), a dirty sense of humour and more
importantly, a strong fucking stomach. Listening to El Cochino aka
Grandmaster Flesh aka Martin Schirenc sing about pleasuring himself to
the sight of a woman performing fellatio on a dead man is certainly not
for the faint-hearted. He spits out the lyrics with so much conviction
that you can almost feel and envy his level of excitement. Almost. Of
course, to each his own. Pungent Stench never claimed to be politically
correct and sing songs of praise for the masses. The bottom line is that
these freaks managed to compose some excellent music, while purveying
their fetishist ways in a fashion that’s almost classy. Almost. Did I mention the cover?


[Full Review]

Kyuss: Blues for the Red Sun 85. Kyuss: Blues for the Red Sun

Released: 1992

If ever there was an album to light an obscenely huge joint and lean back into the sofa with your horns up to (cough),
it’s this one. With a ridiculously low tuned guitar played through a
bass amp that’s turned way up, vocals filtered through whiskey and
cigarettes, solid rocking drums, bass, Sabbathy undertones and tons of
desert dirt, it’s no wonder this thing grooves its way into a spot as a
90’s dominator. Along with having a sense of humour (“Thong Song”), the
album possesses a more than decent understanding of the concept of
buildup, as expressed in the intros of tracks like “Thumb” and “Freedom
Run”, the former of which isn’t as long as the latter, but the latter of
which showcases the band’s knowledge of all things psychedelic. Drugs?
You betcha. Booze? You betcha. Groove? For damn sure. There’s no
denying that this band was king of new retro, and this album just plain
rocks with its balls flapping in the desert wind.


Autopsy: Mental Funeral 84. Autopsy: Mental Funeral

Released: 1991

“Mental Funeral” was one of the most influential albums for the
gore-wing of the death metal camp. Widely considered to be Autopsy’s
magnum opus, the album is tour de force of sloppy, dirty, nasty fucken
metal—lyrically, vocally, and musically. Before starting Autopsy,
drummer/vocalist Chris Reifert played drums on Death’s seminal debut,
“Scream Bloody Gore”. Shortly thereafter, Reifert left Death to form
Autopsy and proceeded to keep the gore-metal flame alive while
Schuldiner was steering Death in a progressively less ghoulish (and
eventually more tight and technical) direction. On “Mental Funeral”,
which was Autopsy’s sophomore LP, Reifert and Co. took the Autopsy sound
in a darker and slightly more refined direction, and in doing so
achieved what many consider to be the best representation of the Autopsy
sound, and perhaps the best representation of the early gore-death


[Full Review]

Macabre: Sinister Sluaghter 83. Macabre: Sinister Slaughter

Released: 1993

Do humour, metal, and serial killers mix? Macabre seems to think so,
and they sure are correct. All the classic killers are here: the Night
Stalker, Bundy, Dahmer, Kemper, Zodiak, Gacy, and Whitman. Combining
death metal, speed metal, grindcore, and folk elements, Macabre put
themselves ahead of game. The riffs on this disc are faster than Chuck
Lidell knocking out your grandmother. So if you have a strong stomach
and a morbid sense of humour, this album will soon be one of your

-Eric W

[Full Review]

Suffocation: Effigy of the Forgotten 82. Suffocation: Effigy of the Forgotten

Released: 1991

Technically, Suffocation might not be the actual first
metal band to employ vicious rhythmic techniques combined with complex
song structures and violent blasting, but they will be for the sake of
this list. While many consider “Pierced From Within” to be Suffocation’s
magnum opus, us at GD thought to list their debut album
“Effigy of the Forgotten” instead , mostly due to its radical redefining
of the standard metal blueprints in 1991. As a drummer, Mike Smith was
relentless behind the kit, managing to play at incredible speeds without
sounding too monotonous and robotic. Frank Mullen provided some
ridiculously low vocals, his guttural growls eventually becoming a
trademark in the genre aptly labelled NYDM
(New Yawk Death Metal). Despite the fact that many fans argued that
their next recording “Breeding the Spawn” suffered from a flawed
production often characterized as “too thin”, “Effigy…” sounded
extremely good considering the time of release. As a result, this
release still holds as a cornerstone in technical/brutal death metal
even 15 years after it was originally released. It’s a shame that the
band pics inside the booklet haven’t aged so gracefully…


Brutal Truth: Sounds from the Animal Kingdom 81. Brutal Truth: Sounds of the Animal Kingdom

Released: 1997

I know what you’re thinking. The production hasn’t exactly stood
the test of time – but what they lack in that department, they more than
make up for in range, ferocity, precision, experimentation,
construction, and dirt. It’s fucken filthy (not to be confused with
sloppy), and as savage as Satan’s scrotum. There’s also more to it than
the usual one minute raw asshole experience that is typical grindcore.
Of course, I’m not talking about the 11 second “Callous” or the couple
of tracks that flirt with the one minute mark, but I’m referring more to
the songs with average lengths, and the final track, “Prey”, which
clocks in at 21 minutes or so, growing in intensity with every minute.
Guaranteed to drive you to the door of madness itself, this amazingly
well structured album is not only dripping brutality, but also courts
catchiness, and in places is interesting enough to make you cock your
head to one side and go “Hey?” with a decidedly unintelligent look on
your face. If you’ve only heard the album once, and have no idea what
I’m going on about, you should know it’s rather impossible to fathom the
album’s complexities in one listening. Do it repeatedly, and the
apocalyptic “Sounds of the Animal Kingdom” will open up to you like a
lotus flower.



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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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