 | 10. Radiation 4 - Wonderland From the sunny skies of California come one strange and exciting metal act. Most people have stated (and I tend to agree) that this exceptional foursome is like a metalized version of Mike Patton's band Mr. Bungle. This band is very odd indeed. They have the scream and the crushing guitars of metal, but fuse many different musical styles into this in the process, including what I think is a xylophone. This is definitely one of the most innovative records I've ever heard. If you're looking for something other than straight, thrashy metal, check this one out. |

| 9. Agent Steel - Order of the Illuminati The fourth full-length album by the super-heavy American power metal band is another masterpiece. The guitars shred away, and Bruce Hall's voice is superb (if sounding like a Halford rip-off at times). Tracks like Ten Fists of Nations and Apocalypse (World Without Windows) are head-banging, thrash-tastic, sing-along anthems. An album not metalhead should be without. |

| 8. Planet X - Moonbabies Purely mind-blowing, all instrumental progressive metal, filled with a post-modern, spacey feel, and astonishing keyboard work by prodigy Derek Sherinian (former Dream Theater, KISS, and Alice Cooper member). Though metal, the album is permeated with jazz. With lighting jazz leads and heavy riffs on the guitar, followed up with manic time changes by the drums, this is some of the best metal fusion I've heard since Atheist, and best guitaring since Satriani. |

| 7. Aborted - Goremageddon: The Saw and the Carnage Done With an album title like that, you know you're in for some death metal brutality, and the Belgian quintet doesn't disappoint. The album opens with a sample from a Hellraiser movie, and that's big points in my book. Unlike Fleshgrind and Six Feet Under, the guitar put forth by Bart and Thjis are heavy, but have actual talent flowing from it. Most of the vocals are the usual incomprehensible growls, but occasionally there's a decipherable scream. Fans of extreme metal: this is the album for you. |
 | 6. Kreator - Live Kreation I've been on a live album binge lately, and while most range from fairly good to purely awful, Kreator is a happy exception. This double-album contains all the hits from part of the Holy Trinity of German thrash metal. Unlike many other live albums (I'm looking at you, Dio) this one spans throughout Kreator's entire discography, playing some older tracks, but still having the classics (Phobia, Betrayer, Coma of Souls, Tormentor etc.). The band is in perfect form, and Mille Petrozza's vocals are in top shape. Out of all the live albums I've heard this year, this is easily the best. |
 | 5. Rune - The End of Nothing Blistering metal that's a combination of death, grind, thrash and doom. Despite heavy research into the band, I've found nothing on them, so I'll focus on the album. The entire instrumental section is rock solid, and the vocals leg-crippling screams. The last track on the album, Ethereal Bleeding, is a dark, eerie instrumental, ending with a Christian Bale's final soliloquy in the movie American Psycho. Keep an eye on this band, I think they'll hit it big very soon. |

| 4. Anathema - A Natural Disaster One word is needed to describe this album: beautiful. However, I'll need more words to fill up this review, so let's get on with it. Much like Opeth, this isn't metal per se, more of ambient, atmospheric mix between Radiohead and Coldplay, but because of their earlier days of doom metal, they've been permanently given that title, for better or worse. The crowning moment of this album would have to be the fourth track, "Are You There," a stirring, tear-jerking, insurmountable opus. As I've stated, not quite metal, but for fans of Radiohead, check these guys out, I swear you won't be disappointed. |

| 3. Ballistic - Ballistic Debut release from this fledgling band, populated by veteran members. Vocalist Tom Gattis has been an avid metalist since '78, playing in the bands Deuce (which featured future Megadeth guitar prodigy Marty Friedman), Tension, and Wardog, now has this fierce thrash band, with power metal overtones, and they seem to have the most fun out of any band I've ever listened to, they're so laid-back. They also have a great ability I've dubbed "genre-switching" where they sound like Exodus at one moment, and DragonForce the next. "Corpse Stacked High" is a ripping, amazingly fun, headbanging anthem that every metalhead will enjoy. I hope to hear a lot more from this band in the next few years. |

| 2. Green Carnation - A Blessing in Disguise Another veteran from the scene, Tchort, continues with his original band, after a short stint with black metal kings, fittingly named Emperor. Back with his original band, he changed their style, from blitzing death metal, to dark, dreary doom metal. This album is the second one in the doom genre, after the release of the breathtaking one-song album Light of Day, Day of Darkness, they return to make another fantastic ride. Tchort's thundering guitar riffs are exceptional, while Kjetil Nordus' tranquil vocals balance out the guitar nicely. The lyrics are very insightful and deep as well, but that is to be expected. This album is one wild ride, and this quick review cannot do it justice. |

| 1. Vital Remains - Dechristianize After several years without gaining as much attention as their peers Cannibal Corpse and Morbid Angel, the boys in Vital Remains decided to recruit David Benton, the lead vocalist of Deicide, and in doing so, catapulted into the limelight of death metal. The album begins ominously, with a sample from the movie Jesus of Nazareth, with O Fortuna playing over top, before Benton lets out the ferocious growl: LET THE KILLING BEGIN! And kill this album does. With many death metal albums, each song ranges from 2-4 minutes in length, and they seem to crank out the same riff every time, getting rather tedious after awhile. Remains on the other hand, have their shortest song clocking in at 6:17, and manage to keep it fresh, with the usual blazing riffs, but they don't hold a candle to the solos, which are among the greatest I've ever heard in my life. The title track has some of the most complex, technical that have ever graced my CD case. The only flaw with this album is the lyrics, which are the usual Benton-I-Hate-God fest. But really, who pays attention to the lyrics in death metal? If you were to get one album this year, this would be the one I'd recommend.
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