The Best Metal Album … From Each Year Of The 00s!

2000 : // Deftones – White Pony (Maverick Records)

Deftones had made their mark in the bustling Post-Grunge Californian scene of the mid 90s with the release of their debut record Adrenaline (1995). Alongside contemporaries such as Korn and Coalchamber, the band were lumped into the ‘Nu-Metal’ category by the press as they combined the Groove-Metal style of bands such as Pantera and Machine Head, with further influences coming from a wide range of sources including Hip-Hop, Alternative-Rock and also with some Industrial elements.

But Deftones would undoubtedly raise the bar and set themselves apart from the Nu-Metal crowd with the release of their sophomore record – Around The Fur (1998) – which showcased a wholly unique style of their own. And at the turn of the new century when a more radio friendly style of Nu-Metal purveyed by the likes of Limp Bizkit, Papa Roach and Linkin Park was proving commercially successful, Deftones would release White Pony. Their magnum opus and a masterclass of Alternative-Metal that would eloquently blend the heavier aspects of their 90s records, with even more of an experimental influence.

On White Pony Deftones would really allow their eclectic elements of Shoe-gaze and Trip-Hop to flourish, especially within the delivery of the enigmatic vocals of singer Chino Moreno, who’s unique and soulful croon has a distinct influence from the likes of Depeche Mode and The Cure. From the opening bars of ‘Feiticeira’ through the melancholic tone of ‘Digital Bath’ to their graceful hit ‘Change (In the House of Flies)’ White Pony is a dark and mesmerising record like no other. ‘Elite’ and ‘Korea’ show that Chino can still scream with the best of them, while the sumptuous ‘Passenger’ featuring Tool’s Maynard James Keenan, is an absolute career highlight. KZ

2001 : // System Of A Down – Toxicity (American Recordings)

System Of A Down are a band like no other. A collective fusion of American and Armenian culture who take as much influence from the folk music of their parents heritage, as they do the avant-garde 90s Metal of bands such as Mr Bungle and Primus. All mixed together with a strong influence form the likes of Slayer and Metallica. SOAD arrived with their self-titled debut album in 1998, which was produced by the legendary Rick Rubin (American Recordings / Def Jam) after he had discovered them playing at a small gig in LA, and they soon found that their individual style on songs such as ‘Sugar’ and ‘Soil’ would swiftly gain them a significant cult following.

And then came Toxicity three years later, a follow-up record which absolutely sent their profile into the stratosphere. It is a near perfect collection of songs, enhancing the quirky stylings of their debut in every way, with all manner of intoxicating riffs and politically charged lyrics. Part of the album’s success came with the highly controversial first single ‘Chop Suey!’ which absolutely blew up on MTV with a continuous rotation, despite the backlash surrounding its supposedly pro-suicide lyrics.

The track is one of the most recognisable Alternative-Metal songs from the era, and the following singles ‘Toxicity’ and ‘Aerials’ showed a highly developed and captivating maturity in the bands songwriting. With the unmistakeable vocals of Serj Tankian, the unique riffing and guitar harmonics of Daron Malarkian and the pounding yet funky bass lines of Shavo Odadjian, the record opens with ‘Prison Song’ and the gangs commentary on the war on drugs, and does not let up until the closing bars. This is a frenetic and supercharged assault of the senses in every way, and is the album that System Of A Down will quite rightly always be remembered for. KZ

2002 : // Isis – Oceanic (Ipecac Recordings)

Hailing from the Boston area, Isis were formed in 1997 as an experimental outfit led by Hydra Heads Records boss and vocalist / guitarist Aaron Turner, and were fuelled by a background of east-coast Hardcore alongside the more avant-garde Metal stylings of Neurosis, Swans and Godflesh. Their debut album Celestial was released in 2000 and was incredibly well received, but it would be with Oceanic two years later that Isis would cement their legacy as one of the purveyors at the forefront of the new millennium’s Post-Metal movement.

Oceanic would prove to be a catalyst in opening Isis up to a wider audience, and the success of Celestial on Hydra Head would lead the band to signing with Mike Patton’s Ipecac Recordings, home to Melvin’s another huge influence of theirs. The direction taken on Oceanic where it blends a Sludgy Metal vibe with moments of Ambient-Drone and Post-Rock would bring them to the attention of bands such as Mogwai and Tool, who would both take Isis on high profile tours in the proceeding years.

Oceanic opens with a wonderfully lazy sounding groove on ‘The Beginning And The End’ before Turner’s gruff vocals take over alongside a distorted riff. The track is 8 mins of pure class with a beautiful meandering instrumental section of Post-Rock dropping as the song progresses. ‘The Other’ opens with sumptuous melodic intrigue, slow-burning its way through to an inevitable aggression, and these two opening tracks really set the tone of the record. Which ebbs and flows its way through the run-time, while impressively laying the groundwork for the modern Post-Metal genre. KZ

2003 : // Cult Of Luna – The Beyond (Earache Records)

While Isis were providing the blueprint for the Post-Metal sound on the east-coast of America in the early 2000s, Sweden’s Cult Of Luna were very much flying the flag as innovators of the sound in Europe and delivered an absolute masterclass of the genre with their second record The Beyond. Their self-titled debut arrived in 2001 after they formed from the remnants of the Hardcore band Eclipse, and much like Isis did with their second release, Cult Of Luna would significantly enhance their sound and experiment with their style on their sophomore effort.

Signed to the legendary Earache Records, Cult of Luna would produce a groundbreaking record in the genre, slowing the tempo down form their debut while adding progressive and experimental elements to their Sludgy-Doom Metal, and lyrically writing a concept around authoritarian dissent. After a short and atmospheric intro, The Beyond explodes into ‘Receiver’ a bonafide Post-Metal classic which delivers a blend of pure unadulterated aggression with the agonising vocals of Johannes Persson, among some sumptuous moments of melodic respite.

The stripped back and melancholic intro to ‘Genesis’ is beautifully dark, and at 11 minutes and 30 seconds is just about the longest of a number of lengthy and epic compositions strewn across the release. Slow-burning with intricate arrangements that build with a hypnotic quality, classy songs such as ‘The Watchtower’ ‘Circle’ and ‘Further’ provide all manner of intoxicating riffs, melodic hooks and meandering dreamlike instrumental passages, that draw you deep into the infectious rhythms of Cult Of Luna and keep you buried there throughout. KZ

2004 : // Slipknot – Vol 3: (The Subliminal Verses) (Roadrunner)

Slipknot exploded with the release of their self-titled debut in 1999, taking the wave of Nu-Metal into far heavier waters. Their follow up Iowa (2001) pushed the boundaries of the extremities of their sound even further, and for many fans it is considered as being the pinnacle of their work. However three years later the peak of their early rise may have just come with the release of Vol 3: (The Subliminal Verses), a record which didn’t try to be heavier than Iowa, but instead showcased a band who were really at the peak of their song-writing ability, as they allowed themselves to create shackle free with an artistic nuance that began to blur genre boundaries.

The recording of the record is legendary as the band holed up in the supposedly haunted surroundings of The Mansion, previously owned by Hollywood legend Errol Flynn in the 1930s, and at this point home to the studio of producer Rick Rubin. Slipknot were at a crossroads in their career with substance misuse rife and members having separated off into various side projects. But what they eventually managed to knuckle down and create together was something very special indeed.

From the eerie creaky beginnings of ‘Prelude 3.0’ with the clean singing of vocalist Corey Taylor, Slipknot set you up for something very different to Iowa. Although they also show they can still take the music just as heavy when the clanking rhythms of ‘The Blister Exists’ drops in, or when they are going full pelt on other songs such as ‘Three Nil’ and ‘Opium Of The People’. Elsewhere they provide some of the greatest songs in their career as they blend their aggression with some of Taylor’s finest vocal melodies, on absolute live favourites such as ‘Duality’ ‘Vermillion’ ‘Pulse Of The Maggots’ and ‘The Nameless’. KZ

2005 : // Gojira – From Mars To Sirius (Listenable Records)

Hailing from Ondres in the south of France, Gojira can now be considered one of the the most successful French Metal bands of all time. With more recent albums such as Magma (2016) and Fortitude (2021) really pushing their profile and crossing over into mainstream Metal, while catapulting them to the upper echelons of festival bills. And when dipping back through the catalogue to their third release From Mars To Sirius, you can absolutely hear the beginnings of the sound they would become renowned for as they progressed far beyond their early Death Metal roots.

From Mars To Sirius is a concept album which typically for Gojira (French for Godzilla) deals with environmental issues, by way of telling the story of the resurrection of a dead planet. The record was largely written by founding members and brothers Joe (vocals/guitars) and Mario (drums) Duplantier, and was self-produced in their own hometown studio. The record opens with a crunching riff on ‘Ocean Planet’ and a Zakk Wylde – esq harmonic guitar scrape, which becomes an underlying trademark sound for the whole record.

The rhythm is relentlessly pounding, while Duplantier’s vocals are heavy but with a clarity that combines to provide an almost Industrial-Metal vibe. The drum fills are wickedly impressive throughout and the magnetic tone of the Gojira sound continues on ‘Backbone’ which then also supplies some frenetic Blackened blast-beats and sweeping guitars, which are also prevalent on ‘From The Sky’. Longer songs such as ‘Flying Whales’ and ‘In The Wilderness’ really allow Gojira to explore their sound and arrangement, and a unique blend of marching distorted aggression with plenty of melodic hooks keep this an engaging listen throughout.. KZ

2006 : // Mastodon – Blood Mountain (Reprise Records)

Mastodon are a band who have personified Heavy Metal in the 2000s as much as any other, and have produced a highly varied and progressive body of work throughout their career. They formed at the beginning of the millennium and have featured the same super-tight line up since their first record Remission landed in 2002. A record which was crushingly heavy with a distinctly unique flavour. Their next album Leviathan (2004) followed suit and was a concept album based around the classic Herman Melville novel Moby Dick.

And while both of these records are absolutely in the conversation for being in and among the very best Metal records of their prospective years, it would be with Blood Mountain their third album (fourth if you include Call Of The Mastodon – a remastered collection of their early demos released at the beginning of 2006) that they really started to experiment with their style. Fully transcending beyond the sound of their early years by injecting a heady dose of Classic and Progressive Rock into their off kilter blend of Thrash, Death and Alternative Metal.

Opening with their unmistakably unique vibe on ‘The Wolf Is Loose’ the vocals of bassist Troy Sanders and guitarist Brent Hinds trade off against each other, setting the tone for Blood Mountain to provide a whirlwind of Metal goodness from start to finish. ‘Crystal Skull’ features guest vocals from Scott Kelly (Neurosis) where delicious Iron Maiden– esq guitars eloquently duel. The ethereal opening to ‘Sleeping Giant’ lulls you into a delicate trance while ‘Capillarian Crest’ and ‘Bladecatcher’ provide moments of mind-bending distorted Jazz. Elsewhere Blood Mountain includes some intriguing guest vocals from both Josh Homme (Kyuss / Queens Of The Stoneage) on ‘Colony Of Birchmen’ and Cedric Bixler-Zavala (The Mars Volta / At The Drive-In) on ‘Siberian Divide’. KZ

2007 : // Machine Head – The Blackening (Roadrunner Records)

Machine Head are one of the classic Groove Metal bands of the 90s. Who were born out of the earlier San Fransisco Bay Area Thrash scene, but arrived with their stunning debut Burn My Eyes in 1994 which offered so much more, and came hot on the heels of the likes of Sepultura’s Chaos AD (1993) and Pantera’s Far Beyond Driven (1994), when Metal was changing and evolving. Machine Head hit the big time from the off, backed by the in vogue Roadrunner Records and with a frontman in vocalist / guitarist Rob Flynn who meant business, they soon found themselves touring at the forefront of the worldwide scene.

Burn My Eyes was Roadrunner’s biggest selling debut album until Slipknot arrived in 1999, and the pressure was on to deliver a meaningful follow up. However with The More Things Change … (1997) they managed to pull it off, before their third album The Burning Red (1999) dropped with a larger Nu-Metal and Rap Metal influence and with the band changing their image to match. This polarised sections of their fanbase in the process, and as their popularity declined it would take a few more albums before Machine Head would experience a rebirth of sorts by dropping The Blackening … the album of their career so far.

Flynn and co really mean business from the off as the opening classical guitars of ‘Clenching The Fists Of Descent’ hark back to Ride The Lightening / Master Of Puppets era Metallica, before exploding into an intricate Progressive-Speed / Thrash Metal version of their own Burn My Eyes sound. This is Machine Head at their very best, full of outstanding lead guitar work and intricate arrangements. Flynn also showcases an abundance of clean singing which gives the album a consistent aura throughout songs such as ‘Beautiful Mourning’ ‘Now I Lay Thee Down’ and the epic ‘Halo’. While on the outstanding pre-chorus of ‘Wolves,’ Machine Head may just have produced one of the most infectious guitar lead hooks in Metal. KZ

2008 : // Meshuggah – Obzen (Nuclear Blast Records)

Meshuggah are yet another band with a unique sound that is instantly recognisable as theirs and theirs alone. Heavy and aggressive with influences of Industrial Sci-Fi and complex metallic down-tuned poly-rhythms. Formed by guitarist Fredrik Thordendal and vocalist / guitarist Jens Kidman in the late 80s. Meshuggah would release their debut LP Contradictions Collapse after signing with Nuclear Blast Records in 1991 and adding human drumming machine Tomas Haake to their ranks.

They would then add guitarist Mårten Hagström so Lidman could focus solely on vocals, and dropped two landmark records of 90s extreme metal in Destroy Erase Improve (1995) and Chaosphere (1998), with Hagström playing custom eight-string guitars dropped an octave to give them a deep and rhythmic sound. But it must be said that coming in and around the mid-point of their career thus far, sixth album Obzen is perhaps the record that utterly defines the Meshuggah style, by bringing together a little everything of their unique sound.

‘Combustion’ opens with a metallic and clanking riff which typifies their heavy D-Jent style. Lidman’s vocals are ferocious and cutting throughout this song as well as the rest of the record, and there is a repetitive and hypnotic quality to both the vocals and the rhythms of the music, which sway with a mesmerising Industrial quality. Their sound is also personified with Sci-Fi esq guitar leads as highlighted beautifully on ‘Electric Red.’ Live set staple ‘Bleed’ opens with relentless and juddering machine gun riffing with further moments of atmospheric off-kilter guitar leads, while the title track hits you like a drill to the head … but in a good way! KZ

2009 : // Fall Of Efrafa – Inlé (Alerta Antifascista)

Without a question Fall Of Efrafa will be the least known band on this list, but from their inception in 2005 until they disbanded in 2009, the three album run that the Brighton (UK) based band put together is legendary in the Post-Metal scene. The trio of records form part of a concept based on the mythology of Richard Adams classic 1972 novel Watership Down. A thoroughly random and unique proposition that the band titled the Warren Of Snares trilogy, beginning with the record Owlsa in 2006 and culminating with Inlé, which is of the highest quality from start to finish.

Owlsa very much brought together a blend of D-Beat crust Hardcore with musings of Post-Rock and with influences apparent from the likes of Isis, Neurosis and Godspeed You! Black Emperor. While middle album Elil (2007) was divided into three 20 + minute compositions leaning further into experimental Post-Rock and Post-Metal flavours. Inlé as a finalè to the groups creative process very much combines the best of everything Fall Of Efrafa purveyed before, but with a slower overriding philosophy of Doom-Metal. ‘Simulacrum’ opens with a mellow and gently strumming guitar, slowly building tension with a spoken word sample and soft yet crescendoing percussive highs.

‘Fu Inle’ eventually hits with the rasping vocals of singer Alex CF and a slow pondering Doomy riff which memorably weaves its way around your mind. ‘Republic Of Heaven’ is 14 + minutes of pure epic Post-Metal goodness full of tempo changes and agonisingly tortured sounding vocals, while on ‘Woundwort’ Fall of Efrafa introduce a beautiful moment of melodic Black-Gaze with uplifting tremolo guitars. The band close out the record and their career with the epic 17 min 30 second ‘Warren Of Snares’ which is truly one of the most amazing Post-Metal compositions, which flows eloquently like a river contrasting both peaceful and raging moments. The band clearly put everything into this stunning climax, contrasting the light with the dark while exploring all avenues of their impressive sound. KZ

Word by Abstrakt_Soul

Check out our linked feature – ‘The Best Metal Albums … From Each Year Of The Nineties!’ :

The Best Metal Album … From Each Year Of The 90s !!!