I decided to include here some classics from the decade that are worth discovering and rediscovering for you all.”
By Lucas Gabriel
Due to the wear and tear and excesses created in the crazy 1980s, Heavy Metal, once a surprisingly popular genre, entered the 1990s with serious problems: It simply no longer fit into that dark decade.
With the rise of Grunge, attention was no longer focused on those long-haired guys playing heavy metal amidst epic and exaggerated riffs. It was a time for introspection, for looking inward. Guitar solos and overly dramatic looks were forbidden. Of course, this didn't last as long as they expected. After all, the world turns, time passes, and new interests emerge.
Even so, it's wrong to say that those were lost years, a hole in the history of Metal. There were indeed great bands, great albums. Far from the mainstream, of course. A very common mistake is to think that something is only good (or worse, that it ever existed) if it sells millions, appears on TV, etc. Heavy Metal never needed media support to survive and continues strong in history as a transgressive music that survives thanks to the passion of fans and musicians.
I decided to include here some classics from the decade that are worth discovering and rediscovering. Some choices were unavoidable, but I tried to avoid the obvious and include a little bit of everything. From the most extreme to the most melodic. Let's go!
Iced Earth, “The Dark Saga” (1996)
Jon Schaffer may be a difficult guy, one of those who can't keep the same band lineup from one album to the next. But his songwriting ability and the strong groove he brings to rhythm guitar are undeniable. He always guides Iced Earth with a firm stance and faithfulness to the style.
The idea of recording an entire album about the comic book character Spawn might seem strange. But the musical quality prevailed in this case.
Matt Barlow had already made his mark on the previous album, in his vocal debut with "The Burnt Offerings," but it is here that he cemented his prominent place in the group and the band solidified its position.
Despite having simpler musical structures, yet still being meticulously crafted, Iced Earth has managed to create a high-quality album that's easy to get stuck in your head.
Helloween, “The Time of The Oath” (1996)
For some people, Helloween is nothing more than the two volumes of "Keepers of the Seven Keys" released in the 80s. I respect that opinion. But often an important part of the history of the German group, creators of Power Metal, is ignored and forgotten out of sheer laziness and prejudice.
It's true that Andi Deris (who had joined the band on the previous album, replacing the iconic vocalist Michael Kiske) doesn't have a very characteristic voice for Power Metal, with a harsh style leaning more towards hard rock (he was the vocalist for the hard rock band Pink Cream 69 before joining Helloween). However, along with compositions that mix a bit of the malice of Hard Rock with the epicness of Power Metal, they created a formula that worked very well.
Listen to the classics Power, Steel Tormentor, Before the War , the title track, and you'll realize that this album may not be as well-known as The Keepers, but it's just as good.
Paradise Lost, “Draconian Times” (1995)
A clean production that lets you clearly hear every movement on the record, coupled with an incredibly precise execution, and enveloped in captivating songs of exceptional quality and beauty. This was the formula for the success of "Draconian Times," Paradise Lost's most successful and relevant album.
Paradise Lost was another European band, like Amorphis and Sentenced, that started with a Death/Doom Metal root, shaping its sound into something more experimental and difficult to classify, even with hints of 80s Pop. Being much more than a Gothic Metal band, as it is usually classified, since it is a style that it helped to create and popularize.
“Draconian Times” is a midpoint between his roots and the sound he would later create. A kind of blend of the two that resulted in a heavy and atmospheric yet direct Heavy Metal that remains modern. Melancholic, beautiful, somber and heavy. “Draconian Times” is a unique album.
Grave Digger, “Tunes of War” (1996)
Grave Digger is one of the pillars of traditional German Heavy Metal that emerged in the 80s and created a certain cult reputation, mainly due to the album "Heavy Metal Breakdown" (1984). However, it was only in the following decade that they truly consolidated their position and gained fame, placing their name alongside the greats of Metal.
And this album is one of the reasons for that, allowing them to enter a decade that didn't offer much space for a more traditional sound on the right foot. However, their talent and musical quality prevailed, and the album deserved its success, since traditional Heavy Metal with hints of Power Metal is recreated in a stupendous way here.
“Tunes of War” is a concept album that tells the story of the Scottish War of Independence. It features a more elaborate and epic sound than previous albums without sacrificing heaviness and memorable melodies. From the bagpipe introduction to the straightforward "Scotland United," each song is more compelling than the last, leaving no room for filler. But if I had to point out highlights, I would mention: William Wallace (BraveHeart), The Dark of the Sun , the beautiful The Ballad of Mary (Queen of Scots) , and the band's biggest hit, Rebellion (The Clans Are Marching) .
The Gathering, “Mandylion” (1995)
Like Paradise Lost, the band I mentioned earlier, The Gathering is another European band that had its roots in Doom/Death before settling into an almost Pop-oriented experimental sound, thus creating a divisive factor among fans.
Some love change, others hate it. The fact is that bands that aren't afraid to experiment will never be universally loved. But going unnoticed after listening to such a beautiful album is impossible. This third record from the band is my favorite, and many others' as well. After listening to tracks like the opening Strange Machines, Leaves, and the two parts of In Motion, it's easy to understand why.
A turning point that helped shape the band's sound was the arrival of vocalist Anneke Van Giersbergen, full of beauty and charisma. Her voice fit perfectly into the album's "experimental" Doom sound, with vocals that don't overdo the lyricism, as has become common and popular in Metal bands with a female vocalist. Anneke doesn't shy away from energetic and sensitive vocal lines, while simultaneously imbuing them with a certain melancholy and heaviness created by the instrumental parts of the songs.
Carcass, “Heartwork” (1993)
One of the founding pillars of Grindcore, Carcass shaped their sound until reaching their fourth album. Replacing the gore lyrics that seem to have come from obituaries with critiques of a decadent society, this album is one of those milestones in Death Metal where, after listening knowing about the landscape of the time, we realize it was a turning point.
With a more technical and harmonious sound compared to their previous records, Carcass presented a work rooted in the melodies of heavy guitar riffs, reminiscent of traditional Heavy Metal. This established itself as a hallmark of what began to be called melodic Death Metal, later practiced by bands such as At the Gates and In Flames.
The opening track, Buried Dreams, is already atypical and shows the change. The instrumental brings much more melody than before, contrasting with the heaviness and guttural vocals of Jeff Walker. A killer sequence follows with tracks like This Mortal Coil, Embodiment, No Love Lost , and the title track. An essential work, both for those who enjoy something more extreme, or for those who want to start venturing into the style.
Sarcophagus, “The Laws of Scourge” (1991)
Pioneering spirit, trailblazing, courage, blasphemy, controversy; these are some of the adjectives we can use to describe the great Sarcófago, a landmark of Brazilian Black Metal.
For some, the only band that rivaled Sepultura since their days playing in the Belo Horizonte underground scene of the 80s; for others, an object of cult worship. One of the first global acts to venture into more extreme sounds and attitudes, influencing the entire Norwegian Black Metal scene that took hold in the 90s.
The fact is, Sarcófago is a unique band that has never been afraid to push the boundaries of what we consider heavy, both lyrically and musically. And here we have their most well-crafted and mature album, melodic in just the right way. But maintaining the band's qualities and trademark: extremism and ferocity.
Listening to songs like Midnight Queen, Screeches From The Silence, Black Vomit , or the bonus track Crush, Kill, Destroy, we can capture all the fury of the band. In a festival of riffs, solos, icy vocals, and a technique never seen before, Sarcófago proves that it is indeed a great band, and deserves all the recognition it has.
Fates Warning, “Parallels” (1991)
From just another metal band like the others, to proving their full potential and creating their masterpiece, "Parallels," Fates Warning made history and helped create something new in metal. Unfortunately, they don't receive the recognition they deserve, but I'd like to conclude by doing justice to this great band.
Coming from albums with a more Iron Maiden-esque feel, which had their quality but nothing extraordinary, Fates Warning molded their sound into something more intricate, being considered, along with Queensrÿche, the forerunners and pioneers of Prog Metal.
But now you ask me: did they influence Dream Theater? Yes, very much so. Not only Dream Theater, but the whole wave of Prog bands that came after. They all owe a small debt to Fates Warning.
But what exactly is "Parallels"? To summarize, it's a blend of good musical taste, melody, and an absurd level of technique used to enhance the music. All the twists, rhythm breaks, riffs, and solos are there for a reason, used to create beautiful instrumental lines in counterpoint with precise and melodic vocals. The songs are so captivating that I dare say they possess an almost Pop sensibility. Yes, it's possible to do this in Metal, with technique, with heaviness; you just need competence and creativity. And this band has plenty of that.
*This text was written by a Wikimate and does not necessarily represent the opinions of the site's authors.
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