15 Underrated Metal Albums

Written: 17th May 2025

As a companion piece to my 15 Underrated Rock Albums, here I dive into fifteen underrated metal albums that I still enjoy and that have stuck with me through a number of years. This is not a list of the best or most important records by these artists. In fact, I would not argue that all of them are flawless. Some are misunderstood; some are definitely underrated; some are amongst my favourite albums by the band / artist; and some are simply overlooked. However, these are albums I find myself returning to again and again. I expect some disagreement but that is half the fun.

The publication of my 15 Underrated Rock Albums piece received - amongst the many positive ones - the odd critical comment that big(ger) bands cannot have underrated albums because they are still well known. However, I have to disagree with this point; I feel there is a distinct difference between underrated and lesser known.

What follows is a personal collection of metal albums that, for one reason or another, deserve you to give them another listen. You might just hear something you missed the first time - or discover why I keep coming back to them. Leave your comments of agreement or of outrage at the end! :)

Black Sabbath – Tyr (1990)

More than one of the Tony Martin-era Black Sabbath albums could have made this list; it is an underrated period. Headless Cross – albeit more appreciated in recent times - was the other main candidate – but Tyr remains an important album for me in my relationship with Black Sabbath – the tour was my first time seeing Sabbath live. Released at a time when I had recently become a music fan, it melded the elements of rock and metal that were becoming so important to me. With its dramatic tone, it diverges from Sabbath’s classic doom aesthetic, but Tony Iommi’s riffing is inspired and atmospheric, complemented by Martin’s powerful, melodic vocals. The production is crisp for the era, and the songwriting brims with theatrical flair and ambition. Tyr deserves a place among Sabbath’s more inventive works, especially for fans willing to venture beyond the better-known Ozzy and Dio eras.

Three favourite tracks: Anno Mundi, Jerusalem, The Battle of Tyr / Odin’s Court / Valhalla (I am treating this suite as one)

Dawn – Slaughtersun (Crown of the Triarchy) (1998)

Often overshadowed by the titans of Swedish black metal, Dawn’s Slaughtersun is a melodic masterpiece that pushes the genre’s boundaries without abandoning its intensity. With an excellent sense of dynamic flow, it bridges the cold ferocity of black metal with majestic depth. The performances are tight, the production surprisingly clear, and the emotional weight of the material is undeniable. Intricate compositions and poetic lyrics demand deeper listening, often overshadowed by more accessible albums. While it was released during a glut of Scandinavian black metal, Slaughtersun stands tall as an oft-overlooked gem.

Three favourite tracks: The Knell and the World, Falcula, Malediction Murder

Dio – Strange Highways (1993)

After rejoining and parting ways with Black Sabbath again, Ronnie James Dio returned with a darker, heavier sound on Strange Highways. The album’s atmosphere is brooding - stripped of fantasy in favour of internal turmoil and spiritual decay. Vinny Appice’s drumming brings crushing heft, while Dio’s vocals are as commanding as ever, though now tinged with more weariness and introspection. A creative reinvention, it does not chase hits but dwells in a bleaker, post-grunge metal landscape.

Three favourite tracks: Jesus, Mary and the Holy Ghost, Hollywood Black, Pain

In Flames – Reroute to Remain (2002)

A seismic shift in sound, Reroute to Remain divided the In Flames fanbase when it introduced electronic textures and clean vocals to their melodic death metal roots. Yet, this experimentation also expanded their emotional and sonic palette, allowing more introspective themes to flourish. Its production is sleek, but the band’s intensity remains. Rather than regurgitate the same formula, they took risks that helped modernise their identity. Though derided by some purists, it was an interesting turning point, marking In Flames not as trend-followers, but as architects of a more hybrid metal future. A bold, influential album that deserves broader appreciation.

Three favourite tracks: Reroute to Remain, Trigger, Cloud Connected

Judas Priest – Ram It Down (1988)

Following the synth-heavy Turbo (another underrated album), Ram It Down – the first new Priest album I bought as a recent convert - was hailed as a return to Judas Priest’s heavier sound, but it has long remained divisive. The songwriting is punchy, and songs such as Hard as Iron and Come and Get It roar with conviction. Unfortunately, the misguided cover of Chuck Berry’s Johnny B. Goode casts a long shadow, often distorting perception of the entire album. Set that aside, however, and you’ll find a fierce collection of late 1980s Priest, driven by screaming solos and Rob Halford’s signature vocal gymnastics. While not flawless, Ram It Down is a transitional record worth re-evaluating for its grit and metallic heart.

Three favourite tracks: Ram It Down, Hard As Iron, Blood Red Skies

Megadeth – Endgame (2009)

Following the mainly well received United Abominations, Endgame marked a revitalised era for Megadeth, combining political venom, classic thrash riffs, and modern technicality and a greater level of consistency. Dave Mustaine’s guitar work is razor-sharp throughout, bolstered by Chris Broderick’s fluid, precise shredding. Mustaine’s snarling vocals and paranoid lyrics give the album urgency, while the production is crisp without neutering its aggression. Overshadowed by earlier albums, Endgame deserves more recognition as a vital entry in the Megadeth catalogue.

Three favourite tracks:  This Day We Fight, 44 Minutes, Head Crusher

Metallica – Load  (1996)

While in many ways, I could have included this in my 15 Underrated Rock Albums, Load represents one of the most controversial artistic shifts in metal history. Rather than continuing to chase the thrash intensity, Metallica embraced a slower, more textural, and introspective sound. Bleeding Me and The Outlaw Torn are expansive, emotionally layered compositions. James Hetfield’s lyrics took on personal, even vulnerable dimensions, reflecting deeper introspection. Fans were (and still are) divided, but Load is a mature, adventurous work that rewards those willing to approach it on its own terms. Stripped of expectation and prejudice, it stands as a well-crafted album that pushed boundaries with conviction.

Three favourite tracks: Until It Sleeps, Bleeding Me, The Outlaw Torn

Motörhead – Another Perfect Day (1983)

With Brian Robertson on guitar, Another Perfect Day stands as Motörhead’s most melodic and perhaps, most divisive album. Some fans were thrown by its more intricate compositions and cleaner guitar tone, but the songwriting remains unmistakably potent. Like some other albums on this list, it appears to be more favourably rated these days. Infectious riffing abounds while Lemmy’s gruff vocals anchor the band’s identity. It is a cleaner, more polished Motörhead, but one that still snarls and swings with authority. Initially met with confusion, the album has since earned a cult following and reveals a band capable of far more nuance than they were often credited for.

Three favourite tracks: Dancing On Your Grave, Another Perfect Day, Marching Off To War

Overkill – I Hear Black (1993)

Overkill’s I Hear Black arrived at a moment when thrash was in decline, and rather than double down on speed, the band pivoted towards a darker, more groove-driven sound. Bobby Blitz sounds feral, yet restrained, adapting his trademark snarl to the album’s slower tempos. The production is warm and weighty, lending heft to the brooding riffs. Though often overlooked in favour of their faster material, I Hear Black is a confident and creative detour that proves Overkill – one of the most consistent metal bands of all - could evolve without losing identity.

Three favourite tracks: I Hear Black, Spiritual Void, Just Like You

Persefone - Spiritual Migration (2013)

Persefone’s Spiritual Migration is a quietly powerful album that deserves far more recognition than it typically receives. Blending technical precision with sweeping atmospheres, the band covers death, prog and power metal with equal skill. The album explores themes of existence and self-awareness with a maturity that many progressive metal records lack. Its flow is effortless, moving from crushing heaviness to moments of serene beauty without losing cohesion. Despite being less known outside dedicated circles, Spiritual Migration reveals layers of complexity and heart with every play. It is an underrated triumph of ambition and artistry.

Three favourite tracks: The Great Reality, Zazen Meditation, Inner Fullness

Persuader – When Eden Burns (2006)

When Eden Burns is an overlooked album infusing power metal with thrash aggression. Persuader channel the intensity of early Blind Guardian while forging a sound that is both muscular and melodic. Soaring vocals blend with razor-sharp riffs and dark lyrical themes, avoiding the genre’s more bombastic tendencies. Jens Carlsson’s vocal performance is both commanding and expressive, and the rhythm section keeps things grounded even at full velocity. Crisp production and focused songwriting elevate the album, making it a shining example of power metal done right - serious, heavy, and undeniably powerful.

Three favourite tracks: Twisted Eyes, When Eden Burns, Judas Immortal

Queensrÿche – Promised Land (1994)

I went backwards and forwards on including this album. At the time, Promised Land (which I have loved from day one) was definitely underrated but now many fans look on this as the last great album of this period of the band. After the commercial triumph of Empire, Promised Land was a dramatic shift into introspection and atmospheric rock. Rather than repeat themselves, Queensrÿche turned inward, exploring themes of existential disillusionment and personal loss, delving into moodier territory with rich textures, unconventional structures. Rewarding repeated listens, Promised Land eschews instant gratification for slow-burning emotional resonance. Having seen them play on this tour at The Royal Albert Hall (look at this for a setlist!), it proved just how well the songs worked live. As a side note, when I spoke with Geoff Tate at Stonedead Festival in 2019, he told me this was one of his favourites.

Three favourite tracks: Promised Land, Lady Jane, One More Time

Sepultura – Dante XXI (2006)

Based on Dante Alighieri’s Divine Comedy, Dante XXI sees Sepultura combining literary ambition with unrelenting metal fury. It is the band’s most coherent post-Cavalera concept album, finding Derrick Green fully integrated as a commanding frontman. The band stretch themselves creatively while staying true to their brutal roots resulting in a tight, focused work that never sacrifices intensity for concept. Though often dismissed by fans clinging to the Max era, Dante XXI is proof that Sepultura remained capable of crafting complex, intelligent, and devastatingly heavy music.

Three favourite track: Convicted In Life, Fighting On, Ostia

Slayer – Divine Intervention (1994)

After the success and critical acclaim of the 1980s, Divine Intervention marked a significant moment of transition for Slayer. With Paul Bostaph replacing Dave Lombardo, the band entered new rhythmic territory without compromising their ferocity. 213, Serenity in Murder and the title track show a band still obsessed with society’s darkest corners - examining serial killers, authoritarian brutality, and spiritual decay. While contemporaries experimented or softened, Slayer remained defiantly vicious. The production is raw and unpolished, matching the album’s thematic grimness. Often seen as a stepping stone between eras, Divine Intervention deserves praise as one of the band’s most intricate, lyrically disturbing, and emotionally harrowing albums.

Three favourite tracks: Dittohead, 213, Mind Control

Sonata Arctica – The Days of Grays (2009)

Sonata Arctica’s The Days of Grays took further steps away from the band’s earlier power metal stylings, delving deeper into progressive and symphonic landscapes. From the orchestral grandeur of Deathaura to the theaterical emotion and technical finesse of Juliet, Tony Kakko’s storytelling is more beguiling than ever, capturing melancholy, longing, and moral conflict through his lyrics. It stands as one of Sonata Arctica’s most musically rich and emotionally resonant offerings - ambitious, mature, and powerfully executed.

Three favourite tracks: Deathaura, The Last Amazing Grays, Breathing

Listen to my playlist of my three favourite songs from each album below.