Written and recorded around the same time as the progressive-influenced Damnation, Deliverance is meant as a companion disc. I've read that this is supposed to be considered one of the band's most brutal and hard records, but I really don't see that. The song composition here is similar to albums like Blackwater Park and My Arms, Your Hearse, combining the bands death and melodic styles. Deliverance isn't as complete a record as Blackwater, but it definately has prospects. With the help of Porcupine Tree frontman Steven Wilson producing and providing backing vocals and the occasional guitar work, the record comes together nicely.

With a cleaner production style, Opeth continues to refine their specific breed of progressive metal with their third studio outing, My Arms, Your Hearse. The disc features shorter songs than previous recordings, giving the disc a bit of a better flow to it. The album is clearly a step in the right direction, showcasing some of the band's finer song-writing abilities in the process. The acoustic/metal interplay is still as present as always, perhaps more in its own right. The record doesn't make as much an impact as some the band would later release, but it isn't hard to see where the evolution took place.

Arguably the finest disc in the Red Hot Chili Peppers disography, Blood Sugar Sex Magik benefits from the legendary production of Rick Rubin and showcases the band at some of their finest moments.

Fantastic modern take on jazz music. These guys have put out a fairly lengthly discography, and still manage to captivate listeners all the way. On top of their field by far.

With their sophomore recording, They Will Return, Kalmah put themselves on a higher plain their the majority of their melodic-death brethren. The 9-track album, put out in 2002 was only the second release from the Finnish power-group, but already seeds were growing at a ridiculous rate. The transition between debut Swamplord and the sophomore was made with ease, something most bands cannot overcome. This high-octane form of melo-death often sounds like a cross between Children of Bodom and In Flames, however there are other similarities/originalities that can dispute this combo. Kicking off with the fast-paced “Hollow Heart”, the album’s pace is – as usual for Kalmah – set early. Though Kalmah isn’t usually a band known for traversing particularly new ground within their genre, the band always seems to be able to keep their material fresh, something few acts accomplish. There are some change-ups on the album that hint at some artistic merit inside these musicians from the swamp.