20 Best Metal Albums of 2010

With metalcore dominating the 2000s, many were wondering what would be metal's next biggest evolution as a new decade approached. Here, we turn back the clock to 2010, counting down the 20 Best Metal Albums of that year.

A little unknown band named Ghost emerged in 2010, quietly dropping their debut album, Opus Eponymous, on unsuspecting headbangers, who rushed to tell their friends about this cool, mysterious group they had just heard.

Elsewhere, '80s veterans proved the fire still burned with an intense white heat and metal's more extreme factions were experimenting with different sounds as genre hybrids became even more popular. Djent went from being this weird internet phenomenon to a full-blown movement thanks to Periphery and black metal's boundaries were tested even further by newcomers and originals alike.

Scroll through the list below as we rank the 20 Best Metal Albums of 2010:

20. The Contortionist, 'Exoplanet'

The beauty of deathcore’s initial sound be so narrow (just breakdowns) is that it was a bare foundation on which to build, which is exactly what The Contortionist did as a new decade rounded the corner. Merged with those elastic, Morse code-like chugs present on Exoplanet are dazzling guitar tapping displays, dramatic time changes and an overall flair for the progressive, which The Contortionist would run with over the next decade. For the detractors of deathcore, albums such as this one helped legitimize the genre.

19. Daughters, 'Daughters'

Daughters took a huge chance with their 2010 self-titled album, flipping themselves from a mathcore band into post-metal psychopaths on the wrong side of an acid trip with Jerry Lee Lewis. Daughterssounds like the bastard child of Mike Patton and Isis (the band), conceived during an evil cult ritual in America’s heartland. Big riffs and syrupy vocal lines hold together a jumbled ball of chaos, which perfectly tows the line between inspiration and insanity.

18. Rotting Christ, 'Aealo'

Rotting Christ made no effort to hide their Hellenic culture on Aealo, their landmark 10th album. The siren call-choirs utilized here invoke a worldly feel and, musically, it was a bit of a rebirth for the band, who heavy-handedly employed chopping, staccato rhythms in contrast with their always bountiful, colorful melodies. Themis Tolis also laid down his best drum work ever in Rotting Christ, coming off as if he’s in an audition for a Rush cover band at times.

17. Kylesa, 'Spiral Shadow'

With Mastodon in the conductor’s seat, Georgia was a hotbed of metal innovation in the 2000s. Power trio Kylesa may have been in the shadows of such bands as Mastodon and Baroness, but they still loomed large with their Hawkwind-meets-sludge-and-hardcore attack. While more than capable of writing a few crushing riffs, they applied them sparingly (and to good use), amid the tumbling cavalcade of drums that kept the band’s hypnotic groove going. The title Spiral Shadow gives clear indication of what Kylesa do here — build up and tear down psychedelic passages with darker, metallic moments presiding over it all.

16. Accept, 'Blood of the Nations'

Would Accept fans… accept… a replacement for the distinct Udo Dirkschneider? Especially with another American now within the ranks of a German metal institution, something that didn’t quite work out once already? Resoundingly, that answer was yes. TT Quick tire-squealer Mark Tornillo assumed the daunting role on Blood of the Nations, which became a modern day Accept classic. A lot of the fury here should be credited to producer Andy Sneap (who is now playing guitar in Judas Priest), who captured a vintage band with a modern sound, reinvigorating Accept’s career as they lit the torch on Tornillo’s era, opening with the pounding “Beat the Bastards Down” followed by the self-aggrandizing “Teutonic Terror.”

15. Decrepit Birth, 'Polarity'

There’s never going to be another Death record, so somebody has to come up with parts worthy of nestling under the Chuck Schuldiner umbrella. Matt Sotelo of Decrepit Birth channeled Evil Chuck on Polarity, but not just in the sense of a clone. It’s the things Chuck embraced - technical melodies and hook-driven extreme metal — that Decrepit Birth pinned in such expert fashion. Rarely do you come away from a tech-death record with so many sing-song guitar bits rather than them racing by and out of your head once it’s done.

14. Kvelertak, 'Kvelertak'

What’s this? A metal band from Norway that isn’t black metal? There’s a handful of ‘em, and in 2010 none were more exciting than Kvelertak. They’re not ignorant of their country’s contributions to metal, it’s just that these kids clearly augmented their diet of Darkthrone with Refused and that good ol’ dick-swinging rock ‘n’ roll. Touches of extreme metal at the time were starting to pervade more digestible forms of heavy music and Kvelertak even caught the attention of Metallica on ensuing albums and would later be invited to open for the thrash legends as their career progressed.

13. Periphery, 'Periphery'

Metal is a genre defined by innovation. Every few years, there’s a new style that crops up and in 2010, Periphery’s eponymous debut album shot off a flare, warning all headbangers of what was coming next. Djent, characterized by the sound of a palm-muted, downtuned chug on which the genre stakes it claim, was born as guitarist Misha “Bulb” Mansoor’s style leapt off Internet forums and onto a proper full length. Despite the music on Periphery being intensely heavy, rhythmic, jarring and technical, the vocal style where high clean singing dominated the balance against screams, was almost pop-punk in its overtones. This eclectic sound pooled fans from all corners of heavy music, allowing Periphery, and djent, to rise quickly.

12. The Dillinger Escape Plan, 'Option Paralysis'

Whenever The Dillinger Escape Plan released a new record, it was pretty much a lock to claim a spot on any and all year-end lists. This notion is true, even in revisionist lists such as this one. Option Paralysisdoesn’t necessarily present anything outright new in terms of outside sounds, but definitely presses some different buttons on Dillinger’s sonic blender and in a different order. The album was the first with drummer Billy Rymer, and that type of lineup change always seems to energize a band’s songwriting, as did the group’s desire to start up their own label — Party Smasher Inc.

11. Nachtmystium, 'Addicts: Black Meddle Pt. II'

Nachtmystium mastermind Blake Judd made no attempts to veil his drug addiction and that was evident before diving into the music beyond the cover, which was littered with opium poppy flower, needles and a gaunt face blankly staring back at you. A continuation of the experimentations found on 2008’s Assassins: Black Meddle Pt. I, the lead single “No Funeral” represented Judd’s furthest deviation from his cold black metal roots. A synth-heavy, totally danceable track was really the only musically bright spot here, despite some post-punk choruses elsewhere. Addicts quickly deteriorated from cheeky darkness to a full-on fucking dirge indiciative of the destructive effects of heroin.

10. Bring Me the Horizon, 'If There Is a Hell'

In 2010, Bring Me the Horizon had yet to make the leap beyond metalcore (and metal entirely) and into alt-pop. The verbose There Is a Hell Believe Me I’ve Seen It. There Is a Heaven Let’s Keep It a Secret, the third record from the U.K.-based group, is a feral throat-ripper characterized by unrelenting energy aided by an endless barrage of gang shouts. Among the chaos, seeds of where BMTH would eventually wind up were planted on the violin-led “Don’t Go” and the calm, ambient instrumental “Memorial.”

9. Overkill, 'Ironbound'

Through all of metal’s trends and new developments, Overkill have been there the whole time, weathering it all with steel-toed persistence. After a couple missteps with 2005’s ReliXIV and 2007’s Immortalis, the New Jersey thrashers roared back with the bulletproof Ironbound, reclaiming moments from their heralded first five records, brought up to date by a hammering modern production. This set in motion a dominant streak of 2010s albums and gave Overkill a sustained second wind.

8. Iron Maiden, 'The Final Frontier'

Never before had Iron Maiden fans had to wait more than three years for a new album, but that streak came to an end with The Final Frontier, which was released four years after the divisive A Matter of Life and Death, which many had decried for not undergoing a mastering in the studio. A record, really, of two halves, the first portion is marked by punchier, shorter songs that harken back to the ‘80s hits, while the back half (more like three quarters) is full-tilt modern day progressive Maiden, churning out deep cut favorites in the epic “The Talisman” and “When the Wild Wind Blows” as well as the complex, fiery condemnation of religion in “Starblind.” Despite being treated as a mixed bag by several critics, we like it just fine.

7. Ihsahn, 'After'

With the 8-string guitar craze sweeping underground metal, Emperor legend Ihsahn picked one up himself and took a go on his third solo album, After. For so many other artists, more strings somehow equated to playing less notes, but Ihsahn’s genius did not fall victim to such notions. What this did afford him was the ability to play with new textures as he’s constantly pushing against the grain, working out of his comfort zone to rein in fresh elements that expand his consciousness as a songwriter.

6. Alcest, Ècailles de lune'

Those looking for a more ethereal affair than what was presented by Agalloch in the same year (spoiler alert: they’re up next) found it in Alcest’s second full length, Ècailles de lune. A full-blown dreamscape of mystic black metal interwoven with elements that would make My Bloody Valentine blush, visionary Neige perfected the sonic conjuration of the fairy world he’d so often dream of during childhood.

5. Agalloch, 'Marrow of the Spirit'

Agalloch’s 2006 LP Ashes Against the Grain played like the first day the sun broke the horizon in some light-deprived winter territory. Four years later, the innovative Oregon troupe returned to the cold, bleak aesthetic that dotted moments across their first three albums and delivered the ambitious Marrow of the Spirit — a six-track, hour-plus marvel. Noticeably more lo-fi than any previous release, Agalloch spun a new twist on an old classic, which, in turn, yielded an instant classic that would give way to the even more raw, single-track ‘Faustian Echoes’ EP just two years later.

4. Enslaved, 'Axioma Ethica Odini'

The prospect of a new Enslaved album is always a thrill. The Norwegian progressive black metal group continues to break new ground with each ensuing release and in 2010 they struck perhaps their finest balance between angsty extremity and Pink Floyd-ian beauty. Axioma Ethica Odini is certainly progressive, but not in the mind-warping way Monumension and Mardraum: Beyond the Within were — it’s easily palatable to the point that even the more aggressive aspects (tremolo-picked riffs, Grutle Kjellson’s visceral snarl) go down like warm butter. Catchy black metal? It exists. You butter believe it. (Please delete that very last sentence and fire me again. I deserve it.

3. Parkway Drive, 'Deep Blue'

Trends come and go in metal with the mindset of innovate or die. The metalcore formula implemented at the turn of the millennium had started to grow redundant and it was Parkway Drive who led the charge into the new decade, keeping metalcore very much alive and vibrant on their third record, Deep Blue. Introspection is a key component of metalcore’s subject matter and, here, the Aussie group uses a character to relay the feeling of questioning the world around us all, seeing through lies and searching for truth and meaning. Deep Blue is existential AF, backed by pogo-happy grooves and ever-present, technical melodies.

2. Avenged Sevenfold, 'Nightmare'

Through tragedy, triumph is often born. Such was the case for Avenged Sevenfold, who were tasked with carrying on with writing sessions for what would become Nightmare following the tragic death of drummer James ‘The Rev’ Sullivan in late 2009. The record featured the last of The Rev’s contributions to the Orange County group and Dream Theater legend Mike Portnoy was tapped to record drums in his place as he was a major influence on the late skinsman. The result was an emotional tug-of-war, highlighted by two wildly differing songs penned solely by M. Shadows — the knuckle-cracking title track and the tender “Buried Alive.”

1. Ghost, 'Opus Eponymous'

This is where it all started. Word of mouth traveled fast as headbangers eagerly took to this mysterious new group playing a vintage brand of rock and metal with equal parts Blue Oyster Cult and Mercyful Fate thrown into the ghastly mix. In an era dominated by extremity, Ghost’s resplendent debut, Opus Eponymous, suddenly brought a notion of fun and theatricality back to heavy music. And melody! Practically every second of this 34-minute album is a hook and while Ghost have gone on to write more elaborate songs, the straightforward appeal of this album has yet to lose any of its luster.