Apparently this German band put out two albums in the '80s, the first of which did extremely well in their home country. So call this another misguided “reunion” if you wish, but to do so would be to ignore the talent on display here. Bleed consists of some pretty first-rate power metal, with all the requisite guitar solos and air raid siren vocals in place. However, their use of keyboards is more prominent than most, and quite well done. Rather than just add some background noise to the soundscape, the synths dance and sparkle with a life all their own, being used as a true instrument in their own right. It makes for some enthralling listening, particularly in the title track. Otherwise it’s mostly standard power metal fare, dabbling in the fantasy motif (“Temple of the King”) or going ultra '80s (“Nightmare”). In any case, it’s very well-executed, and fans of the genre should seek this out.

Okay, I’ll admit that my choice of this album was a little biased by the fact that Unida is the current band of John Garcia, former vocalist of the godly Kyuss. I’m a huge fan of the man’s voice, but that isn’t all these songs have going for them. This is high-caliber desert rock with dirty edges: AC/DC meets Kyuss. One listen to the raw, primitive chords of “Human Tornado” and you’ll know what I mean. On the other hand, “Nervous” could sit unobtrusively among the tracks on Kyuss’ …And the Circus Leaves Town, so there’s variety here. “If Only Two” shows John wailing at a fever pitch, a beautiful thing. “You Wish” closes the album appropriately, laying down waves of plodding, bottom-heavy riff destruction. None of this really compares to the work that Kyuss (or even Slo Burn) did on their best albums, but it still shines brightly above the desert of so-called stoner rock.

Neurosis are a band that have made a career out of pushing the envelope, and I still have trouble wrapping my brain around their music (a friend of mine would probably say that’s what makes them so great). This disc definitely struck a chord in me, however. One thing you can’t deny about Neurosis is that they’re heavy; they create a wall of musical chaos that will steamroll over you without pause. Feedback-ridden guitars meet tribal drums and anguished vocals in a fiery blaze. Times of Grace paints a portrait of hardened desolation that never lets you up for air, mercilessly clawing and scraping its way across the landscape. Music for the apocalypse.

With a metal supergroup consisting of Dave Lombardo, Steve DiGiorgio and James Murphy, people said Testament couldn’t lose with this album. They were right. Somehow this thrash mainstay have managed to combine the best elements of their career into this one effort. Sounds you’ll recognize from The Legacy, Practice What You Preach, Demonic…they’re all here. The result is an album ranging from articulate rock (“True Believer”) to hyperspeed deaththrash (“Legions of the Dead”). It all proves that after many years this band still have what it takes to make a great metal album. All hail!

I have never been among the many people who consider the first two Emperor albums to be black metal masterpieces. The thin production of those releases held me back, something these Nordic warriors have remedied this time around. The whole affair is much fuller and simply ROCKS more. Ihsahn screaming his head off in King Diamond style from time to time doesn’t hurt either. These songs are executed with murderous precision, stripping the flesh from your body with razor guitar riffs while pummeling your carcass with inhumanly tight drumming. Yeah, yeah, fans of Anthems... would say the same holds true for that album, but this time you can actually hear the instruments. What a concept. This is my kind of Emperor; long may (t)he(y) reign.

I never thought a live album would make it into my list of top albums for any given year, but here’s one that couldn’t be denied. Plus, this is the second year in a row that the band have made my list, coming in last year with their excellent Rising album. How did these Sons of the South manage such a feat? For starters, this album is ungodly heavy. Every guitar chord and drum kick resonate with pure power. And it’s packed with tunes, 15 live and two new studio. But above all the potency of this record lies in how well it manages to capture the essence of the Stuck Mojo live experience. You can actually feel the energy and intensity of their live show when you listen to this, and considering what an unstoppable juggernaut this band is in a live setting, that’s saying a lot. I haven’t moshed in years, but listening to this album makes me want to FUCK SHIT UP. Impressive.

Like so many other European metal bands these days, DT have started to delve into clean vocals. Before you death metal purists turn your backs on this band, you should know that the harsh vocals are still present, and as acidic as ever, but the cleaner style adds a whole new (and quite morose) dimension to the band’s sound. The vocal inflection and tone of the clean parts remind me of Iced Earth’s Matt Barlow, and carry a similar emotional weight. This band will likely never top 1995’s The Gallery, but there’s some textured, somber material on display here that’s well worth looking into.

With At the Gates long gone and Dark Tranquillity pursuing somewhat different avenues, In Flames have become the elder statesmen of Gothenburg metal. And it shows. Though this album doesn’t contain many groundbreaking moments, it oozes with total class. These guys know how to write quality songs, and it makes this effort a pleasure to absorb from beginning to end. Pure and nearly perfect heavy metal.

This album busted out of the gate in January and immediately became a major contender for one of the year’s best. After two strong albums and an EP, Nevermore have taken things to a whole new level with this concept album. I do think, however, that they still haven’t reached their full potential. The hypnotic lushness of “The Lotus Eaters,” “Cenotaph,” and especially the title track indicate that this band could achieve even greater things on the next go around. Still, what they’ve offered with this album is some of the tightest and most talented metal out there. Heavy and powerful.

Two years ago, it seemed that the Hypocrisy story had ended with The Final Chapter. Fortunately for the metal world, Peter Tagtgren and company changed their minds. The result is this powerhouse album, a true study in dynamics. This band continue to excel at crafting rich, depressive tunes, but when they decide to speed things up, they SPEED THINGS UP. “Apocalyptic Hybrid” and “Time Warp” are no less than flesh-searing in their intensity, made all the more so by the slower, creepy songs that surround them. One of my favorite aspects of the album: Peter explores some power metal vocals, which come out as twisted wails and shrieks guaranteed to make the hair on the back of your neck stand up. Killer!

Some people this year have criticized this album, saying Amorphis have crossed the line into watered-down territory. While this album doesn’t contain as much Maiden-inspired guitar noodling as the previous Elegy, the Finnish folk ambiance is still intact and the songwriting has been bumped up a notch. From the enchanting intro of “The Way” to the straightforward rock n’ roll of “Shining” to the moody atmospherics of “Summer’s End,” this is quality stuff through and through.

The kings of the bizarre return with their first new release in several years, and they’ve turned into the Beach Boys! Well, maybe the Beach Boys on crack. Believe it or not, there are actually some fairly normal songs here, swinging lounge tunes that could fit in on a Faith No More album. Still, this collection of tunes is packed with the customary clusterfuck of heavy metal crunch, tortured dance beats and about a dozen other styles. Topped with the incomparable vocals of Mike Patton, this disc sees these freaks in top form.

Absolutely crushing doom merges with sweeping keyboard passages to form this truly magical album. The band’s previous effort, Among Majestic Ruin, was a decent slab of epic doom, but the song structures and production values here are light years beyond their other work. It all bears a striking resemblance to Mindrot’s mesmerizing Soul disc, pulling you into despair with the synths, then smashing your cranium with shuddering guitars. Relapse Records’ roster may consist largely of grindcore groups these days, but Morgion more than make up for it with their grandiose metallic vision.

Mixing the best elements of Opeth and Katatonia, Agalloch have created a breathtaking work of melancholy art. You’d fully expect this kind of genius to come out of Sweden or Norway, but this band is from -- get this -- Oregon! The songs are lengthy, varied compositions that keep you on your toes, but always firmly immersed in darkness and desolation. From the chilling chimes that appear in the last third of “She Painted Fire Across the Skyline” to the pulsing, all-encompassing bass whomps that ripple through “As Embers Dress the Sky,” innovation abounds. And every damn bit of it pours out and smothers your soul in a gray euphoria. Inspired, divine brilliance.

By far my favorite band in the world right now, Anathema have put forth yet another masterpiece of stunning beauty and gut-wrenching sorrow. This is some of the finest songwriting you’ll find anywhere; every note is arranged so as to elicit maximum emotion. Look no further than “One Last Goodbye” for one of the most heartbreaking “love” songs ever written. I can’t exactly say how this album compares to the band’s past works of genius like Alternative 4 or The Silent Enigma; it’s not better or worse, just different. Another stage in the career of one of the most gifted bands to grace this forlorn planet.