Retrospective: 30 Five Star Metal Albums (1979 - 2024)

Written: May 2025

Metal has been an incredibly important part of my life and there are many albums that have resonated with me. I know there are many classic albums missing; however, this list is not meant to reflect my thirty favourite metal albums of all time – although some here would feature in such an article. This is more a consciously deliberate attempt to bring together albums – each of which I consider to be worthy of a five star rating - from a range of metal sub-genres covering each of the last six decades. It could easily have been a list of fifty. With both personal reflections and critical evaluations, I explain just why these albums are worth such an accolade. Enjoy the ride!

Motörhead – Overkill (1979)

Overkill emerges like a raw blast from the underground, embodying a furious, unrelenting energy that shaped metal’s future. Lemmy’s gravelly roar cuts through a wall of buzzing bass and drums that seem to hammer at the very foundations of heavy music. The album feels immediate and visceral, with no excess or polish - just pure power driving each song forward like a speeding train. As a precursor to speed and thrash metal, it was a statement of intent that aggression and attitude matter as much as technique. Gritty and authentic, it still gets my adrenaline pumping closing in on fifty years after its release.

Three favourite tracks: Overkill, Stay Clean, Damage Case

Saxon – Wheels of Steel (1980)

From a band I have followed since the latter years of the 1980s, Saxon’s Wheels of Steel stands as a rugged testament to the power of honest, no-nonsense heavy metal. Rooted firmly in the New Wave of British Heavy Metal, the album combines thunderous riffs with anthemic choruses. Biff Byford’s vocals deliver both urgency and a sense of working-class pride, grounding the music in a real-world toughness. The pace of the album varies enough to keep the listener hooked, shifting from relentless assault to more mid-tempo storytelling without losing momentum. I could have chosen two or three early Saxon albums here and their most recent output shows they still have all the fire they displayed well over forty years ago.

Three favourite tracks: 747 (Strangers In The Night), Wheels of Steel, Street Fighting Gang

Black Sabbath – Heaven and Hell (1980)

Heaven and Hell represented a monumental shift for Black Sabbath, welcoming Ronnie James Dio’s soaring voice and narrative depth into the mix. Unlike the doom-laden atmospheres of the past, this album weaves intricate melodies and dynamic shifts that create a grand, almost cinematic atmosphere. The music balances darkness with grandeur, giving songs room to breathe and develop, moving between thunderous riffs and delicate, haunting passages. Lyrically, it tells stories filled with struggle, fate, and mysticism without losing its raw edge. The band sounds revitalized and hungry, proving they could evolve without abandoning their heavy roots. I saw them perform some of the tracks with Dio on the Dehumanizer tour and they were as enchanting as I hoped they would be.

Three favourite tracks: Neon Knights, Children of the Sea, Heaven and Hell

Judas Priest – Defenders of the Faith (1984)

Less a refinement and more a crystallisation of their entire output to that point, Defenders of the Faith is a record of total control and outrageous conviction. Rob Halford is at his most mercurial, alternating steely menace with operatic grandeur. Rammed with twin guitar harmonies that glide and slide through stomping rhythms, the album is taut and sinewy. With Defenders of the Faith following the equally excellent Screaming For Vengeance, Priest reaffirmed absolute ownership of their space in the metal pantheon.

Three favourite tracks: Freewheel Burning, Rock Hard Rock Free, The Sentinel

Celtic Frost – To Mega Therion (1985)

To Mega Therion was a seismic moment for extreme metal, redefining the sonic and aesthetic possibilities of what would come to be known as avant-garde and first-wave black metal. Celtic Frost took the primal chaos of their earlier incarnation and channelled it into something far more calculated and genre-defying. With ominous orchestration, unconventional song structures and a blasphemous theatricality, the album built a template that countless bands would later expand on - from death to doom, from gothic to industrial. The sheer confidence to merge classical bombast with guttural intensity created an atmosphere previously unheard in metal. This is not just a landmark; it is one of the genre’s cornerstones.

Three favourite tracks: Jewel Throne, Dawn of Meggido, Circle of the Tyrants

Metallica – Master of Puppets (1986)

One of my top ten albums of all time, Master of Puppets delivers intricacy without sacrificing the sense of brute force. A perfectly structured album, not a second is wasted. Exciting use of tempo and texture lead to an album of cerebral savagery and moments of exquisite finesse. Hetfield’s rhythm work is militaristic in its precision, while the arrangements spiral far beyond standard thrash boundaries. Whether orchestrating breakdowns or launching into extended instrumental passages, every idea feels monumental. A stone cold classic.

Three favourite tracks: Master of Puppets, Disposable Heroes, Orion

Bathory – Under the Sign of the Black Mark (1987)

Ferocious and arcane, Under the Sign of the Black Mark is both raw and visionary. A crucial album in the history of black metal, Bathory’s third album took the feral energy of its predecessors and transformed it into something far more sinister and enduring. Even the lo-fi production was not a flaw but a weapon, imbuing every note with a haunting, spectral power. Call from the Grave and Equimanthorn demonstrated a chilling grasp of mood, while Woman of Dark Desires carried historical menace. Quorthon’s one-man vision – a combination of myth and majestic grandeur – became a blueprint for the future and Bathory secured their place as one of the most important bands in the history of extreme metal.

Three favourite tracks: Call From The Grave, Equimanthorn, Enter The Eternal Fire

Iron Maiden – Seventh Son of a Seventh Son (1988)

At times, I find it hard to be purely objective about this album. At fifteen, Seventh Son of a Seventh Son pulled me into heavy metal and opened a door I have never wanted to close. From buying Can I Play With Madness on vinyl to seeing Maiden live at the NEC (my first ever gig), it was a formative time. The synth-laced sound, the storytelling, the artwork - all of it spoke to me. Even now, thirty-seven years later, it remains my most-played Maiden album and a defining influence on my enduring love for metal. Read my full retrospective on the album I wrote for its thirty-fifth anniversary here.

Three favourite tracks: Infinite Dreams, Seventh Son of a Seventh Son, The Prophecy

Queensrÿche – Operation: Mindcrime (1988)

Quite possibly the greatest progressive metal album of all time, Operation: Mindcrime does not skirt around its themes of dystopia, addiction and control. Cinematic and expansive, it works extremely well not only on a musical level but also on a narrative level. Geoff Tate’s vocal heroics mirror the album’s emotional swerves but also keep it grounded as the band explore the darker reaches of the human character. As beguiling and intellectually rewarding as it was upon release, Mindcrime is a true masterpiece.

Three favourite tracks (an almost impossible choice): Revolution Calling, Suite Sister Mary, Eyes Of A Stranger

Morbid Angel – Altars of Madness (1989)

While I came to know thrash metal in the late 1980s - beginning with …And Justice For All -  it was not until about 1994 that I started to listen to even heavier albums. Altars Of Madness was one of the first, helping to launch my love of extreme metal. Hearing it for the first time was like staring into the eye of a storm. It took me a few listens to completely understand what I was experiencing. It felt unhinged, yet deliberate. With more time, I came to realise that Altars Of Madness is full of riffs that twist and recoil like something sentient and Trey Azagthoth’s solos feel otherworldly. It is chaotic, yes, but never sloppy - every part locks into place with terrifying precision. Thirty-five minutes that reshaped my thinking.

Three favourite tracks: Immortal Rites, Maze of Torment, Chapel of Ghouls

Running Wild – Death or Glory (1989)

Death or Glory is an album that has stayed with me since its release when I was seventeen. It was everything I wanted metal to be at the time: sharp, fast and full of momentum. Still my favourite album by the band, the riffs are urgent, the choruses massive with not an ounce of filler to be found. Confidently delivered, it is pure escapism delivered with clarity and drive. Clear, but never sterile, the production makes sure the riffs have room to breathe. This was Running Wild’s fifth album and it is a band operating in their prime.

Three favourite tracks: Riding The Storm, Running Blood, Battle Of Waterloo

Entombed – Left Hand Path (1990)

Buzzsaw-toned and dripping with vehemence, Left Hand Path sounds like it was exhumed rather than recorded. Entombed channelled death metal into something that felt alive in the worst possible way: snarling and rabid. Its groove is relentless, its textures fetid and warm. Though rooted in extremity, it never collapses into noise. Recognisably Swedish, the riffs balance brutal aggression with a dark, melodic undercurrent and swing and groove with a sick swagger. The fact that the band were basically teenagers when this was written and recorded beggars belief. Still one of my most played death metal albums.

Three favourite tracks: Left Hand Path, When Life Has Ceased, Bitter Loss

Megadeth – Rust in Peace (1990)

Regularly named among the best thrash albums of all time, Rust in Peace is articulate yet viscerally direct. With the best line-up Megadeth ever had, it is a masterclass in technical aggression. The band’s chemistry is unmistakable, especially the interplay between Mustaine and Friedman, which feels like a chess match in motion. Solos dart and weave with labyrinthine guile, avoiding the obvious route. The band’s chemistry is unmistakable – especially the interplay between guitarists Mustaine and Friedman, which feels like a frantic chess match in motion. Precision is never sacrificed for passion, and fury remains integral to the experience.

Three favourite tracks: Hanger 18, Lucretia, Tornado Of Souls

Slayer – Seasons in the Abyss (1990)

By the time this album was released, I was becoming familiar with their catalogue. Just five days after getting Seasons in the Abyss in my hands as a teenager, I attended my first Slayer concert during the Clash of the Titans tour at Wembley Arena. The band played most of the new album alongside older tracks, making it a baptism by fire. This album confirmed my place as a dedicated Slayer fan. There is a malice in the pacing, and Slayer tap into an atmosphere that is both psychological and visceral. The slower tempos allow tension to fester and Dave Lombardo's drumming remains hypnotically varied.

Three favourite tracks: War Ensemble, Dead Skin Mask, Seasons In The Abyss

Dream Theater – Images & Words (1992)

Another important album in my own musical history, Images and Words is majestic, technical, and deeply emotive. Every track is precision-engineered yet emotionally resonant: Petrucci’s fluid solos, Portnoy’s complex rhythms, and James LaBrie’s soaring vocals all combining in a seamless, intricate weave. Cerebrally ambitious, there is a symphonic quality to the arrangements, but the band never loses sight of hooks and dynamic drama. The tour was my first time seeing Dream Theater at a concert that was to become one of their live albums: Live At The Marquee.

Three favourite tracks: Take The Time, Surrounded, Metropolis – Part 1: ‘The Miracle and The Sleeper’

Death – Symbolic (1995)

Death are one of the most influential and consistent metal bands and to be honest, you could make a case for almost any of their albums being included in this list, albeit it for slightly different reasons. Symbolic is a beautifully brutal album and Chuck Schuldiner’s compositions are as emotionally charged as they are physically demanding. The complexity arises not from showmanship but from an obsession with craft and the guitars explore wide sonic territory without ever sounding contrived. One of several masterpieces.

Three favourite tracks: Empty Words, Sacred Serenity, Without Judgement

Paradise Lost – Draconian Times (1995)

Elegiac but punchy, Draconian Times successfully walks a delicate tightrope between gothic melodrama and hard rock immediacy. Equally weary and disdained, Nick Holmes’ baritone leads the band through tracks that unfold slowly for the most part – building mood without stagnation. There is sorrow here but also clarity. I know not everyone will agree that Draconian Times deserves a place on this list but this was my introduction to the band and any serious music fan will tell you that timing has much to do with how our experiences and love of albums are shaped.

Three favourite tracks: Hallowed Land, The Last Time, I See Your Face

Emperor – Anthems to the Welkin at Dusk (1997)

All four Emperor albums are excellent in their own way but this one sits slightly above the others. Every track combines raw black metal fervour with layers of melody that weave through the dark atmospheres. It is equally regal, violent and focussed - the compositions surgical. Riffs blaze and Ihsahn’s vocals sound like he is trying to claw his way free from some unseen horror. It is symphonic but never soft; progressive but never indulgent. A definitive statement of intent that still burns cold and bright.

Three favourite tracks: Ye Entrancemperium, Thus Spake The Nightspirit, The Loss and Curse of Reverence

Opeth – Still Life (1999)

Opeth are one of my favourite bands and this was the first album I heard. It rewarded – and still rewards – patient, repeated listens, revealing its dark beauty in elegant layers. Still Life is a delicate interplay between serenity and savagery. Mikael Åkerfeldt shifts between the angelic and the demonic with alarming dexterity. Musically, the band move through prog, death, and folk territories without losing narrative thread. Songs unfold like scenes and the mood shifts with a graceful fluidity. Telling the story of an outcast returning to a puritanical society, it also delivers powerfully on the narrative front.

Three favourite tracks: The Moor, Godhead’s Lament, Face of Melinda

Pain of Salvation – Remedy Lane (2002)

On Remedy Lane, Pain of Salvation – another amazingly consistent band – take us on a deeply personal journey, raw and honest, wrapped in the intoxicating intricacy of prog-metal. The way Daniel Gildenlöw unites vulnerability with powerful riffs feels incredibly real, like he is inviting us into his world. The songs flow together, each one building on the last, and full of emotion. Sharp moments of beauty punctuate the heavier moments such as the delightful instrumental Dryad of the Woods. Remedy Lane is heavy without being overbearing, complex but always accessible.

Three favourite tracks: Trace Of Blood, Dryad of the Woods, Beyond The Pale

Nightwish – Century Child (2002)

Another album where timing is key. I became a fan of symphonic metallers Nightwish a little before the release of this album, and ever since, it has remained my favourite release by them. It also contains my favourite Nightwish song – Slaying The Dreamer. The first album to feature live orchestra and choir, Century Child captures Nightwish pushing towards cinematic heights without ever tipping into excess. Tarja Turunen’s vocals possess clarity and conviction, soaring over arrangements that balance bombast with restraint. Beneath the orchestration lies a grounding heaviness; guitars and drums never cede ground to the strings. The impact made by Marko Hietala’s addition to the line-up cannot be overstated and he is as important to the success of the album as any member.

Three favourite tracks: Dead To The World, Ever Dream, Slaying The Dreamer

Mastodon – Leviathan (2004)

Leviathan is characterised by its refined complexity and animalistic ferocity. It is Moby Dick reimagined through polyrhythms, progressive intelligences and sludge-soaked riffs. The songs feel oceanic, like a crashing, swirling squall with endless power interspersed with moments of eerie calm. Pulling the listener into a mythic, primal world, each track creates an experience that is intellectually stimulating and viscerally thrilling. It is a consummate journey through the depths of the human experience and nature’s untamed fury.

Three favourite tracks: Blood and Thunder, Seabeast, Hearts Alive

Gojira – From Mars to Sirius (2005)

A sonic odyssey that balances the intricate and the immense, From Mars to Sirius is one of many highlights in Gojira’s discography. Thematically profound, diving into issues such as environmental degradation, spiritual awakening and the quest for personal transformation, Joe Duplantier’s vocals convey a sense of urgency and existential gravitas. Its intertwining of technical prowess and conceptual ambition compels us to ponder the vastness of the universe and our role within it. Uncompromising, brutal and contemplative in equal measure.

Three favourite tracks: The Heaviest Matter of the Universe, Flying Whales, Global Warming

Fen – Carrion Skies (2014)

A band I have followed since their superb debut album The Malediction Fields, Fen’s music is rooted in atmospheric black metal. Carrion Skies is a bleak, windswept album that delves into themes of decay, ancestral memory, and the unforgiving churn of history. Never content to rest in its confines, the album weaves post-rock passages, desolate melodies and shrieked lamentations into something uniquely British and mythic: imagine fog-draped moors and distant, shadowy silhouettes.

Three favourite tracks: Our Names Written in Embers (Part 1: Beacons of War), The Dying Stars, Sentinels

Behemoth – The Satanist (2014)

Nergal’s battle with leukaemia deeply influenced The Satanist, imbuing it with raw intensity and existential weight. Facing mortality, he channelled vulnerability and defiance into the album’s tone. The result is a cathartic fusion of darkness and triumph, reflecting his confrontation with death and spiritual rebirth. Fusing raw emotion, musical sophistication and philosophical death, Behemoth interlaces blackened death metal with atmospheric and orchestral elements, creating an intoxicating experience. Its authenticity, driven by Nergal’s personal struggles, gives it emotional gravity and it stands tall as one of the best metal albums of any sub-genre in recent years.

Three favourite tracks: Blow Your Trumpets Gabriel, Ora Pro Nobis Lucifer, O Father O Satan O Sun!

Soen – Lotus (2019)

My favourite album of 2019, Soen’s Lotus is a melodic and opulent journey that ensnares the listener in a web of musicianship and poetic lyricism. Joel Ekelöf is among the best singers in progressive metal and here his vocals are a haunting invocation, moving between fragile and forthright. Superbly arranged and constructed, every member of the band is operating at the top of their game and new guitarist Cody Lee Ford slips seamlessly into the line-up. There is an obvious confidence in the songwriting; it is fiercely intent and rammed with songs that demand attention.

Three favourite tracks: Martyrs, Lotus, Lunacy

Cattle Decapitation – Death Atlas (2019)

On an amazing run of form – which continued with 2023’s Terrasite – Cattle Decapitation produced an album that sounds like Earth’s final scream. Apocalyptic does not even begin to cover it. The band bend genres and break them, shifting from grindcore to post-metal to blackened balladry within minutes. Travis Ryan’s schizophrenic vocal shifts add layers of theatrical intensity. Yet for all the chaos, the message is painfully clear. This is not abstract horror, but real-world devastation rendered in musical form. Devastating.

Three favourite tracks: The Geocide, Bring Back The Plague, Death Atlas

Sepultura – Quadra (2020)

Having followed Sepultura since before the release of Arise, I have seen how much of the Derrick Green era has been unfairly dismissed without some fans even actually listening to the music. Over nine albums with the American vocalist, there have been some notable highlights and Quadra deserves to be mentioned in the same breath as classics such as Beneath The Remains and Chaos AD. Green’s vocals add raw intensity and emotional depth, proving his vital role in the band. Quadra balances brutality with melody, exploring themes of justice, order, and chaos with precision and passion. Should, as seems likely, this prove to be their last album, it is a fitting final chapter for such an important band.

Three favourite tracks: Guardians of Earth, The Pentagram, Agony Of Defeat

Dødheimsgard – Black Medium Current (2023)

Black Medium Current is a bold, experimental evolution that cements the band as avant-garde metal vanguards. Nearly thirty years into their journey, this seventh album blends their black metal roots with expansive, introspective soundscapes. While the seventy minute runtime may seem daunting, it flows with immersive cohesion. Highlights such as the evocative Et Smelter and the formidable Abyss Perihelion Transit demonstrate the depth of Yusaf Parvez (Vicotnik)’s vision. Combining melancholic depth, philosophical lyrics, and genre-defying sound, Black Medium Current offers a profound listening experience - rewarding those willing to explore its shadowy, cerebral landscape.

Three favourite tracks: Et smelter, Tankespinnerens Smerte, Abyss Perihelion Transit

Borknagar – Fall (2024)

Fall is a towering achievement - bold, evocative, and musically fearless. Borknagar sculpt a sound that is elemental and refined, black metal’s raw edge meeting sweeping, almost symphonic grandeur. The album thrives on contrast: thunderous riffs give way to delicate passages, guttural vocals entwine with soaring melodies, and moments of stillness amplify the intensity. Every track feels purposeful, not just in its construction but in the emotions it evokes. Fall is not just another step forward for Borknagar; it is a statement of intent - a reminder that metal can be both brutal and breathtakingly beautiful.

Three favourite tracks: Nordic Anthem, Moon, Northward

Listen to my epic ninety song playlist of my three favourite tracks from each album.