After 60-plus Hall of Fame inductions, one thing that stands out is that precious few of those albums contain and are best known for a single truly classic song.

Contrary to popular belief, the New Wave of Swedish Death Metal—also known by its acronym NWOSDM or synonym “The Gothenburg Sound”—wasn’t a cohesive movement.

Saint Vitus were a living, breathing anachronism in every possible way.

If black metal was defined by a single year, it would have to be 1994.

As the popularity of our Hall of Fame feature grows, so do the chances of us throwing a wild card at you folks.

It’s strange that the one of the cornerstones of doom is actually one of the most lyrically positive albums in the entire secular metal canon.

In early 1982, Accept were in dire need of an identity, onstage and especially on record.

Focus almost never happened. Hurricane Andrew (a Category 5 storm that devastated South Florida in 1992), bassists frequently exiting and three separate visits to Morrisound Studios could’ve cost the world Cynic.

It’s hard to say who was more shocked—punks or metalheads—by hardcore band D.R.I. signing with Metal Blade Records via the label’s new Death Records imprint in 1985.

Upon finding out the next album our vaunted Hall of Fame was going to open its pearly gates to was slated to be Judge’s Bringin’ It Down, an anticipatory buzz broke out amongst the extreme music luminaries hanging around the Decibel table at the most recent Maryland Deathfest.