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Metal’s greatest one-album wonders

One album wonders

Metal is built on longevity. Black Sabbath racked up almost 50 years on the clock, Metallica are hurtling towards their ruby anniversary, Korn are closing in on three decades, and even ‘newbies’ Mastodon and Trivium chalked up 20 years in 2020.

But there are other bands who burn brightly before disappearing. Many barely make a ripple to anyone outside of their close circles of friends or a small group of fans, but handful of make one killer record before vanishing from the face of the earth.

They’re the ones we’re celebrating here – those bands who touched greatness with their one and only album, only split up, fall apart or, more tragically, die. Here are they are - music’s 10 greatest one-album wonders.

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Thorns – Thorns (2001)

Snorre Ruch, aka Thorns, is responsible for initiating the clinical, futuristic take on black metal that transformed Satyricon, mid-period Mayhem and beyond. A decade after the Grymyrk demo transfixed the scene – and eight years after Snorre drove Varg Vikernes for his fateful meeting with Euronymous – a full album finally landed. Cosmic, visionary, ruthlessly efficient yet bewildering, it remains a towering black metal landmark, even though no one’s heard a peep from its progenitor since.

Sevenchurch – Bleak Insight (1993)

This Oxford quintet had their own rustic, eccentric take on doom metal, tempos pushing the envelope of grinding extremity, singer Martin Spear’s possessed monastic voice prefiguring Reverend Bizarre’s deep, plummy tones. Sevenchurch looked set to dominate the underground, but after this LP’s release they seemingly dropped off the planet, only resurfacing online in 2013 to offer unreleased archive material confirming their heady singularity.

Snot – Get Some (1997)

In 1997 nu-metal was barely out of infancy, and was yet to produce the cavalcade of characters that it became known for, which makes the fact that we only had a brief moment with Snot (opens in new tab) all the more galling. Debut album Get Some is full of funk rock perfection, punk attitude and the kind of riffs Wes Borland (opens in new tab) would sell his granny for. All tied together by the imperious presence of frontman Lynn Strait, those in the know knew he was a star in the making, sadly his death from a traffic collision a year later meant it never happened.

Repulsion – Horrified (1989)

Recorded in ‘86, the one and only Repulsion album was released via Carcass (opens in new tab) frontman Jeff Walker’s Necrosis Records imprint three years later. Underground diehards already knew the band from the tape-trading scene, however: formed in 1984, the Michigan quartet arguably invented grindcore (opens in new tab) single-handedly with their early demos, inspiring a generation of noise-hungry metalheads in the process. Horrified remains an unassailable benchmark and one of the most righteously ferocious records ever made. No follow-up necessary.

Nailbomb – Point Blank (1994)

Off the back of three genuine Sepultura (opens in new tab) classics in Beneath The Remains (opens in new tab), Arise and Chaos A.D (opens in new tab)., Max Cavalera’s stock couldn’t be much higher. So when he teamed up with Alex Newport from Nottingham noise provocatuers Fudge Tunnel as Nailbomb (opens in new tab), fans expected something special. And they got it. Point Blank is a frightening record, with Cavalera’s love of early death (opens in new tab) and thrash metal (opens in new tab) being amped up and combined with Newport’s ear for industrialised, avant-garde extremity. Wasted Away has become an underground classic, and song like Cockroaches and Blind And Lost still sound as heavy as anything you care to mention today.

Temple Of The Dog – Temple Of The Dog (1991)

Chris Cornell (opens in new tab) stepped away from Soundgarden (opens in new tab) to record this tribute to his former room-mate, Mother Love Bone (opens in new tab) singer Andrew Wood, who died from a heroin overdose a year earlier. But what could have been an epic downer turned out to be one of the greatest albums of the grunge era. Cornell dialled down the wailing, imbuing Say Hello 2 Heaven and the Eddie Vedder (opens in new tab)-assisted Hunger Strike with a nobility that was alien to the plaid-shirted hordes, while Reach Down was a glorious exercise in rocking-out-as-emotional release. Grunge (opens in new tab) had never been so moving, and it would never be again.

Pulkas - Greed (1998)

Heavily based on bowel-loosening low-end guitars, London malcontents Pulkas added British steel to a sound that mirrored State of World Address-era Biohazard and Killing Joke in equal measure. Greed remains an unbelievable slab of alt. metal perfection. That it was Pulkas’s sole album is criminal in the extreme.

Floodgate – Penalty (1996)

Led by Kyle Thomas, former frontman of New Orleans groove metal (opens in new tab) pioneers Exhorder (opens in new tab), Floodgate only made one album, but what an album it was: a fearsome, heroic, brooding assault of swamp metal riffs and Marlboro-ravaged bellowing. Despite being released by powerhouse metal label Roadrunner (opens in new tab), it smashed headfirst into a wall of apathy,

Pride & Glory – Pride & Glory (1994)

Zakk Wylde (opens in new tab) had been Ozzy Osbourne (opens in new tab)’s guitarist for five years when the Prince Of Darkness announced his ‘retirement’ from touring (somewhat prematurely). So Zakk launched this Southern rock outfit – his first experience as singer and frontman – which he originally named Lynyrd Skynhead. Traces of metal are discernible in Horse Called War’s swampy stomp, but banjos, mandolins and mouth organs predominate on P&G’s one-off Geffen LP.

Control Denied – The Fragile Art Of Existence (1999)

The late, great Chuck Schuldiner (opens in new tab)’s career was a constant series of evolutions. By 1999, he’d left behind both his original band, Death, and the genre they’d christened. His new band, Control Denied, even found the erstwhile Evil Chuck handing vocal duties to operatic frontman Tim Aymar. Death metal fans grumbled that he’d taken the progressive/power metal (opens in new tab) leanings too far, but this was Chuck doing exactly what he wanted, just as he’d always done. Sadly, it would prove not just to be their only album but also Schuldiner’s last – he died two years later.

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Metal Hammer

Founded in 1983, Metal Hammer is the global home of all things heavy. We have breaking news, exclusive interviews with the biggest bands and names in metal, rock, hardcore, grunge and beyond, expert reviews of the lastest releases and unrivalled insider access to metal's most exciting new scenes and movements. No matter what you're into – be it heavy metal, punk, hardcore, grunge, alternative, goth, industrial, djent or the stuff so bizarre it defies classification – you'll find it all here, backed by the best writers in our game.