METAL TOP 20

The Thing That Should Not Be

That Is How The Gods Had Fallen

Usually in music magazines they write positively about artists and their works or…. they don’t write at all. We’ve decided to make an exception and disturb the model of metal Idol a bit. Here you have the list of 20 albums of questionable reputation, committed by the front-page bands.

CELTIC FROST- Cold Lake (1988)
2 mini albums being the legacy of HELLHAMMER, essential "To Mega Therion" and very experimental “Into The Pandemonium” raised CELTIC FROST to the very peak of metal pyramid. But when Tom G. Warrior hid his horns under his backcombed hair, put his ass into leggings and started to play poodle metal like, let’s say CINDERELLA, their cult collapsed like a house of cards. The results of releasing this album were devastating; it was an absolute commercial fiasco. The band split up 2 years later after long-lasting quarrels. Today Fischer baldly admits that on the “Cold Lake” CELTIC FROST simply really screwed it up.


HELLOWEEN- Chameleon (1993)
After releasing the both parts of „Keeper” HELLOWEEN unquestionably ruled the German power metal scene. And just then there happened something inexplicable to date. They recorded “Chameleon”, the album which was to gain a commercial success, to conquer rock scene. But this dull pseudo-hit met devastating criticism and HALLOWEEN was definitely on the way down. After the “Chameleon’s” release the band parted with Michael Kiske and hired Andi Deris, which – as we know – did them both much good.



PESTILENCE- Spheres (1993)
Thanks to such excellent works as „Consuming Impulse” or “Testimony Of The Ancients” Dutch PESTILENCE became for many fans one of the most influential European bands of the beginning of the 90s. It was the right thing to write about “Spheres” that it’s ahead of its times, is visionary and that that’s the way the metal will look like in the 21st century. In fact, it was only wishful thinking, since over-intellectualized, cosmic jazz-logged thrash metal was merely enjoyed. Discouraged with hardly any feedback Mameli dissolved the band and felt deeply affronted by metal for many years.


ANTHRAX - Stomp 442 (1995)
The second album with John Bush (voc.) brought extremely lean years for ANTHRAX. There’s clearly audible creativity crisis on “Stomp 442” and, actually, apart from decent “Fueled” there’s hardly anything interesting to find. In fact, the best justification for this is that we had to wait 8 years for their next album! “We’ve Come For You All” redeemed their failures in some way. But for the fact that Scott freaked out once again (e.g. return to original line-up) ANTHRAX would be an important player on the metal scene.




BATHORY- Octagon (1995)
The master created so many classics that we could forgive him the flop entitled “Requiem”. But the following “Octagon” was a plain flaw on his honour, a clear evidence of his limited creativity and excessive self-confidence. Black in Forsberg’s creation sounded perfect; also in epic doom the band was unrivalled. But if it comes to thrash metal, Quorthon didn’t have the slightest idea about it! “Octagon” is painful to listen to.





IRON MAIDEN- The X- Factor (1995)
Such frontman as Dickinson can’t be substituted by anyone. Old hand Steve Harris certainly knew about it but he had to take risk for the band to go on. A new vocalist had to deal with the drabbest and dullest track set in Maiden’s history. Average of 6,5-minute track, tiresome melodies and Blaze’s chocking vocal completely fucked up the album and its successor. MAIDEN revived in glory not before the comeback of Bruce the Almighty.





GOREFEST- Soul Survivor (1996)
Mid-90s is for many groups (incl. death metal) a period of searching for a new form of expression and stylistic roaming in all possible directions. After the previous albums’ success GOREFEST was trying to find its place in more stoner-rock climate. And although they created a few really interesting compositions in this way, the combination of de Koeijer’s growl, super-heavy guitar parts with Hammond keyboards and unhampered, rhythmic bounce didn’t meet a widespread approval. They still remember lynch after “Soul Survivor” release.



VENOM- Cast In Stone (1997)
Its best albums VENOM recorded in cultic ternary line-up Cronos-Mantas-Abaddon. The worst, paradoxically, too. “Cast In Stone” released in the 2nd half of 90s, preceded by two other failures, was the worst creation of The World’s Most Arrhythmic Playing Band. But for the legend and their name, the album would probably vanish into the thin air. Searching for the hidden meaning of “Cast In Stone” is pointless. Deprived of devilish energy, horribly dull stuff tells you everything about VENOM’s form of those days.




ENTOMBED- Same Difference (1998)
Extremely daring album and equally controversial. On “Same Difference” ENTOMBED intentionally referred to the garage punk-hardcore roots, almost getting rid of their distinctive death metal sound. Being objective, there are a few decent tracks and Peter Stjärnvind’s playing plus LG’s vocs brings you to your knees. However, never have Swedish gods had such a bad press as after this album’s release.





SLAYER- Diabolus In Musica (1998)
One of the metal commandments says: „SLAYER will never record a weak album”. Well, truth will be truth but Slayer happened to lower its standards which couldn’t remain unnoticeable. The main reason for criticism towards “Diabolus in Musica” is an attempt of incorporating nu-core riffs into SLAYER’s sound. People put blame mainly on Kerry King who is considered to be the enthusiast of everything which sticks out to metal like a sore thumb. Luckily in the long run SLAYER remained SLAYER and “Dolarus In Musica” gets dusty on fan’s shelves.