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# Global Domination

### Recent updates

- S(crap)s: I Miss My Death / Kaoskult / Raus & Perunwit (split) / Spatial / Thy Flesh (13/06/14)
- Hatebreed: The rise of brutality (12/06/14)
- Vomiting Corpses: Coma - The spheres of innocence (11/06/14)
- Mayhem: Esoteric warfare (10/06/14)
- S(crap)s: Akrotheism / Black Altar / Druknroll / Enthroned / Funeral Sutra (09/06/14)
- Agalloch: The serpent & the sphere (08/06/14)
- Dark Tranquillity: Construct (07/06/14)
- In Flames: The jester race (06/06/14)
- S(crap)s: Souldrainer / Tonic Breed / Rude / Defying / Electric Hellride / Scorned Disciple (05/06/14)
- Culted: Oblique to all paths (04/06/14)
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## Lists of Domination

### GD's Top 100 Most Dominating Albums From 2000-2009 (50-41)

#### 22/06/10 || Global Domination

50. Dark Funeral: Diabolis interium

Melodic black metal perfection. Yep, that’s what it is. What an album, guys… What an album. There’s not a single weak moment on here and you really just need to read my very old review as it sums up all my thoughts. This is Dark Funeral’s finest hour and it’s also one of the best albums to ever infest my stereo. The fact that it’s placed smack in the middle of this list is a muthafucken disgrace. That’s how it goes when you run a democracy and get persuaded into believing voting is the way to work these lists. Then we get general errors like these. It’s a miracle “Diabolis interium” isn’t in the Top 10. Or even Top 3. I guess it just shows what kind of fucken retards I have employed here. Bastards. I hate you all.

Go fetch your copy of this album (you do have one, I hope), crank up the volume button and blast the black metal supremacy that is “Diabolis interium”. It doesn’t get much better than that, seriously. I could go on all day but you have more entries to go thru, so…

As said: full coverage here.

-Lord K Philipson

49. Watain: Sworn to the dark

In reality, there is nothing, which is everything. Everything is possible in the void, which is nothing. Only in Chaos can everything be possible. The Law in its mind-numbing conformity must be vanquished, so those sworn to the dark might reach beyond the spheres of mankind and fulfill their true potential. Sound weird? Pretentious? Well, I don’t blame you for not understanding. Watain’s philosophy is as enigmatic and shrouded in mystery as it is powerful and interesting, and it is an integral part of their music. The Swedes’ black metal is expertly crafted, with lots of hooks in the riffs, melodies and drumming. The song structures are very well-thought-out, malignant and relentless verses often exploding into slower, catchy choruses. A black and savage atmosphere is present throughout the record, and this onyx gem surely is a modern black metal masterpiece. Hail Chaos.

GD review.

-CadenZ

48. Motörhead: Inferno

The new millennium had started with mixed results for Motörhead. “We are Motörhead” was quality material but overshadowed by its bland 2002 output “Hammered”. The band had found a steady two-year rhythm by which it released new material, but by the time it looked like they’d spent their ammo. Well, wrong. Two years later, “Inferno” came out of nothing and heralded another resurgence of the British rock monster, which lasts until this day. So, while “Kiss of death” and “Motörizer” are similarly great albums, “Inferno” takes the cake for getting the band back in the game in the first place. Well, and for providing the rare opportunity to hear Lemmy perform a Blues song. Other than that, catchy, uptempo rock anthems made for the stage, a complete, heavy production job, varied songwriting and splendid performances by everyone involved have defined Motörhead ever since.

Bands who grew up listening to Lemmy shredding his throat have already turned to shit and the originator himself with his fellow troops is kicking ass better than ever. These fuckers may be old, but they sure as hell ain’t stepping down yet. Not in 2004, not in 2006, not in 2008, and (hopefully) so forth.

Full coverage.

-Habakuk

47. Gorefest: Rise to ruin

There’s elections in the Netherlands this year. However, I don’t think they will be necessary. You see, I figured out that when I tape this disc to a tank, it’ll combine and form Gorefestiathan, Obliterator of Political Bullshit, which will then proceed to kill each and every politician asshole. In the world. This album was the fucken peak of Gorefest’s hustling and bustling musical career in terms of sheer brute force. The massive, crushing voice of de Koeijer is on its own enough to blast the listener upside down through a window. ”REVOLT! REVOLT! Kill with rage, die in flames, the future is untold!” But add to that the blasts from Warby’s drums and the catchy yet devastating guitar riffs, and you have a monstrous force, a rolling tank that doesn’t stop for anyone. Especially you!

The lyrics are actually a very good bonus in this death metal mayhem, because the roars are very intelligible, and instead of random acts of violence or worship of , you can feel in every nerve that these guys are righteously pissed off about something worth killing, maiming, and making fun of: the human race. So for a big fistful of metal-plated anger crushing your face, “Rise to ruin” is your disc.

-GardensTale

46. Agalloch: The mantle

Following the absolute triumph of their 1999 debut “Pale folklore” (one of my favorite albums), folk metallers Agalloch reigned the heaviness from that one way back for 2002’s “The mantle”, upping the usage of long, winding, post metal-y instrumental passages, as well as emphasizing the acoustic instruments much more, since, in addition to the beautiful use of acoustic guitars here, you’ll also hear cello work, an accordion, even fucken deer skull-percussion! In fact, most of the time, your attention will probably be drawn a bit more to what the acoustic instruments are doing than their electric counterparts, but despite how these elements may sound antithetical to a metal band, Agalloch still makes them all work wonderfully within their style.

And, fortunately, none of the changes to Agalloch’s sound or songwriting approach harmed the band’s basic awesomeness, as the music here is still very memorable and effectively beautiful, with the numerous haunting instrumentals working out very well, and despite the many vocals-free sections, “The mantle” never loses my interest at any fucken point. All in all, this is another great album under the band’s belt, so don’t let the folk metal nay-sayers on GD keep you from giving this (to quote myself) “incredible accomplishment in aural depression” a fucken shot.

Additional coverage.

-Smalley

45. Macabre: Dahmer

Over a period of 13 years, Jeffry Dahmer sadistically murdered 17 men. So sick was Jeffrey, his crimes included rape, torture, dismemberment necrophilia and cannibalism. I know what you’re thinking – wouldn’t his life story make a great concept for a heavy metal album? No? Well those sick fucks that are Macabre certainly thought so. Combining elements of grind, death, punk, nursery rhyme and barbarous humour, this concept album tells the story of Dahmer’s life in the most riotous way imaginable. It takes a blacker than black sense of humour to enjoy this album, but those who have it will find this album a classic all the way. Now, everybody do the Dahmer!

-revenant

44. Vader: Litany

So you want an album that jumps through your speakers, headbutts you, punches you in the face, kicks you in the head and then when you are down, stamps all over your brutalized body AND do it fucken melodically? That’s “Litany” from Vader, cunts. Fast, intense, brutal – these are words that tend to get over used like a bad cliché when it comes to describing metal. The fact is no album, I repeat, no album can claim these words as their own as much as “Litany”. This is a fucken classic through and through, packing more punch than Mike Tyson at his peak, this is an album every metalhead should own.

Full coverage.

-revenant

43. Converge: No heroes

Converge have for a long time now shook the world with their incredibly tight, befuddlingly complex and terrifyingly intense mixture of hardcore punk fury and math-informed metal. Their squall of sound, mixed with Jacob Bannon’s cathartic screams has been rained with praise by a lot of people, including yours truly. But, hey, let’s be honest, while everybody praised them, their angularity and extremity was really a bitter pill to swallow. So, when “No Heroes” came out in 2006, everybody was ready for another record that would be praised by everyone and listened by only a few. Well, if that happened it’s a damn shame, ‘cause, while retaining the band’s trademark intensity, the songs display a more “streamlined” approach that makes them all the more approachable. This fact, plus the experimental side the band displays, with longer songs and more texture, makes “No Heroes” compulsive listen for anyone who needs something to shed blood, sweat and tears to.

-Khlysty

42. Shrinebuilder: Shrinebuilder

Scott “Wino” Winerich. Scott Kelly. Al Cisneros. Dale Crover. You know them all (if you don’t, what the fuck are you doing here?), you have already offered burnt offering to their respective bands’ altars. Now it’s the time to bow down in front of the collective power of their 2009 collaborative effort, a record that not only gives credit to the term “super group”, but also proves beyond ant reasonable doubt why these guys are considered giants in the world of All That Is Heavy. I could call their music psychedelic tribal post-hardcore sludgy doom, but that only scratches the surface of what goes on here. This is not just the sum of the different parts each bandmember brings inside the equation, but a record that shines bright with its force, while also conveying a sense of laid-back camaraderie that’s extremely enticing. The Shrine is here, so all hail to the Shrinebuilder!

GD review.

-Khlysty

41. Satyricon: Now, diabolical

With Volcano, Satyricon were headed in the right direction for global domination, wielding their weapons of dark grooves and danceable riffs – nothing to thrashy, harsh or occult. A true “Fuel For Hatred” (see what I did there?), born from the purest rock and roll, then welded onto a menacing atmosphere. With “Now, Diabolical”, Satyr has insisted on using the same, tempo for each track (not the whole album, different tracks, different tempos, and working with rhythm to create the effect of changing speeds. Possibly this approach has had a negative impact on the album.

Whilst “K.I.N.G.”, “The Pentagram Burns” and “To The Mountains” have a fair momentum behind them, Frosts drumming is never truly allowed to let rip as it has been before, and you can feel the guitars straining at the leash against the restraint Satyr has forced on them. Maybe this album is too clean and too restrained a bit of dirt and impetuousness is present in the biggest arena filling bands, so it’s not an element that needs to be left out in order to achieve that kind of status. This is also the approach that gives this album an originality and freshness that is all to absent in most other releases of this kind, namely black metal of Norwegian origins.

Here are two different reviews.

-Butt-Beard

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