The term "perfect" is often thrown about without a great deal of thought put into its meaning, in a sense used as a colloquialism. It is a pretty safe bet to say that there probably isn't such thing as a perfect heavy metal album, nor piece of art in general. However, if perfection was ever reached, surely it would only be a shade or two away from the formidable and undeniably brilliant "The Red in the Sky is Ours".

With fluid rhythm yet unparalleled dissonance "The Red in the Sky is Ours" is compositional brilliance. Like many of its peers, it evidences technical ecstasy but, in contrast, is not paralyzed by talent. Emotions pour from each song like ruptured arteries. From the bitter screams of anguish through to the intricate layers of tremulous melody and harmonious instrumentation, a message of nihilism, loss and torment is delivered. A deserved number one, At the Gates' "The Red in the Sky is Ours" is innovative, dark, death metal beauty which 15 after its release, is still the benchmark for death metal, if not heavy metal.

"Altars Of Madness" hardly needs introduction. It's a genre defining album that emerged to life in 1989. It's extremely technical sounding and horrendously aggressive in terms of both sound and lyrical message. David Vincent's style of growling is rather clear yet difficult to follow at times due to sheer speed. Complex finger tapping has also been introduced by guitarist Trey Azagthoth whose solos and thrash riffs were played with total precision in speed.

Technically this album is unstoppable. If you are one of the unlucky ones to not own this gem, then bleed for the Devil and die!

Amorphis’ second full-length album, 1994’s "Tales From the Thousand Lakes", is a classic death metal album that takes standard death metal structures, and mixes them with more melodic instrumentation, doom influences, occasional clean vocals and lyrics based around Finland’s national epic, Kalevala.

This album is in many ways a unique recording, and has been critically acclaimed by both fans and music media alike. Later re-released in 2001 with the seminal track ‘Black Winters Day’ added, this album is truly worthy of a spot in our top 10.

Katatonia's masterpiece release featuring Mikael Akerfeldt's invincible vocal delivery has stormed surprisingly to number four beating numerous greats at their own game. Unlike many bands, Katatonia were never afraid to experiment with their virtuosity. Mid paced riffing combines with innovative darkened licks to wilfully produce an album that captivates the listener from the very first note. Groove, precise death growls and an occasional double bass blast will keep you locked up in a day dream from which there is no way out. Only foreseeable action is to give in whilst headbanging with a beer in your hand.

"Brave Murder Day" is a centrepiece of excellence in the doom / death catalogue, and entitles its creators to a tag being of true innovators.

This was the one unique album by Death that captured the rawness of their earlier releases combined with a technical ferocity which would be seen in the latter works. The band was maturing both musically and lyrically, with Chuck stepping forward from the pack with an album that showcased his many talents and that of his band mates, notably James Murphy. Growing out of the horror zombie lyrics and dealing with the everyday horrors one faced when they turned on the TV, the album dealt with adult themes like drug abuse and television evangelists.

The last Death album on which they truly sounded like a ‘death’ metal band and it is a timeless legacy today, 17 years after its release, of Chuck Shuldiner's brilliance.

Arguably the most accomplished band since the early 90's death metal scene, The Chasm have developed an alchemic sound which illustrates the majesty of death and mythology. Akin to the occult, each of their releases delivers a whirling sound of melody infused chaos and perhaps none more successfully than their third release "Deathcult for Eternity: The Triumph".

With a gritty, muddy production, unpolished yet flawless musicianship, a sort of off key melody and howling vocals of insane dimensions, "Deathcult" is a 'triumph' of epic proportions. Influences hark back to early Slayer (namely "Hell Awaits") and hint towards touches of death metal such as God Macabre's "The Winterlong" or even Carnage's "Dark Recollections". However this likely underappreciated classic truly remains untained and original, delivering death metal that is sheer awe-inspiring incandescence.

Early 90's were the years of true Therion and that's were it stayed.

"Cause of Death" is a dish best served on a plateau of severed skulls and crushed bones. As is the case with "Altars of Madness", the release is filled with killer thrash riffs. Features are fantastic, lengthy guitar solos and clever intros with amazing drum work. It's a release that the band has not been able to replicate in the continuation of their careers and is also arguably John Tardy's best vocal performance to date. It's fast, brutal and incredibly tight - hallmarks of old school death metal that Obituary forged.

It's absolutely no surprise to see these Florida veterans stroll into the top 10. Even today the band is brimming with confidence in the wake of their latest effort...

The ground breaking album that defined a new genre - Swedish Death Metal. From the outset, a screaming howl leading into the furious riffing and vocals from the torture chambers of hell, this one had it all. The trademark ‘Entombed’ sound- a distinctive guitar tone used by the band on the first 2 albums was soon replicated by many of the Scandinavian death bands of the time yet none managed to surpass the original. "Left Hand Path" introduced the musical talents of a group of 4 young Swedes who showcased superb ability on a debut release.

Although later releases saw them branch out into a punkish territory, "Left Hand Path" is still regarded as Entombed's crowing achievement... and furthermore, still one of the best album covers ever.

Completing our top 10 is a band widely regarded as one of the most original in the field of Progressive and extreme Death Metal. "Morningrise" in particular has been voted in as the most consistent and indeed most brutal release in the bands discography thus far. The guitars are left raw, better production values were realised than on "Orchid", and Akerfeldt's foray into 'black' evil-esque growl territory complete the changes in well delivered manner.

"Morningrise's" lack of solos and keyboards almost go unnoticed due to albums breathtaking progressive and acoustic melodies (at times over stretched) and elaborate rhythm and mood changes giving the album the edge in originality. This is a beautiful offspring of a genius we now know of as Mikael Akerfeldt, if not evidenced through the music, then read the lyrics and be awe-inspired.