Without Napalm Death’s Scum, you probably wouldn’t be holding this magazine. This album—essentially a split LP between two almost completely different lineups—defined grindcore with its growled vocals, whirring, hardcore-influenced riffs and faster-than-a-locomotive blast beats.

While it’ll never be regarded as the kind of breakthrough record Leviathan became, thanks to universal acclaim (indie rock critics and all) and its inclusion on not one but three video game soundtracks (Need for Speed: Most Wanted, Project Gotham Racing 3, Saints Row), Mastodon’s Remission LP is much more important in the scheme of the band’s history and modern metal itself.

Of all of their bizarrely captivating feats, the fact that Coalesce managed to create arguably their most important album after they had ceased to be a band has to rank near the top of the list.

Opeth’s Orchid existed among tape traders for almost a full year, either as a partial or full album with the songs cut in random places, before Candlelight unfurled it upon an unsuspecting public in May 1995.

Call it the face that launched a thousand metalcore graphic designers (into a rat-race of feverish mimicry).

It’s a stretch to call Diamond Head’s 1980 debut, Lightning to the Nations, “extreme” metal. In their era, the über-influential New Wave of British Heavy Metal, Diamond Head—four teenage mates from Stourbridge, England—were well-respected practitioners of a burgeoning new form of metal that was brash, raw and relatively fast.

Katatonia’s initial incarnation as a black doom outfit—replete with corpsepaint, weapons, stage names like Lord Seth and Blackheim, and song titles “Without God” and “Palace of Frost”—probably caught as many Darkthrone acolytes off guard as it did followers of England’s doom metal “big three.”

In 1995, Norwegian corpsepaint legends Immortal were on top of the world: With Mayhem’s Hellhammer sitting in on drums, vocalist/bassist Abbath and guitarist/lyricist Demonaz were high on the icy grimness of their own Battles in the North and opening for Morbid Angel on the European leg of the Domination tour.

With a few coughs at the beginning of “Sweet Leaf,” Tony Iommi officially hailed cannabis as the drug of choice for the kind of people who dug Black Sabbath.

While a pretty good case could be made for inducting either Rock for Light or I Against I into our esteemed Hall, the debut full-length by DC-cum-New York’s Bad Brains deserves the coveted nod; not just for its blazing punk/hardcore, but the circumstances surrounding its creation.