Over a career as a death metal disc jockey spanning six years in Planet Southern California, Spinoza Ray Prozak developed a strong sense of history regarding the relevance of the music he played over the air. "Not all metal bands are equal," he once said, "and though we'd never want them to be, some are going to stand out in history as having addressed the human soul in the unique way a metal band can - while others will just be working within the paradigm."

Presented here are the bands and releases that Spinoza Ray thinks define the genres of metal - heavy metal, thrash, death metal, grindcore and black metal - by speaking directly the language of innovation within the architecture of metal's art. Covers and names link to reviews with more information about the bands and their albums.

Death Metal Morbid Angel steered the extremity of Sepultura and Possessed into complex codices of centrally-fused melodic structures and occult knowledge. At the Gates used fast lead rhythm playing to create overlapping melodic structures and unsettling atmosphere. Therion made stirring mood pieces out of primitive death metal by offsetting the tangible with mystically oblique guitar work, then became a progressive band. Demilich wrote corkscrew songs of evolving lead phrases and jagged percussion, with themes esoteric to observations of life's structure hidden beneath appearance. Unleashed used simple thunderous riffs in bardlike storytelling structure to create something unknown in the familiar. Massacra crafted high-speed phrasal beauty in the midst of battering chaos and an uneasy feeling of missing significance in life. Sepultura invented early death metal with a pattern language of riffs leading to simple but effective conclusions.

Black Metal Hellhammer/Celtic Frost made grand Wagnerian operatic journeys out of alienated, dark, heavy music. Bathory inspired by classical music, developed raw and primitive metal based on the conflict between leitmotifs of evil. Immortal made restless melody that calls us beyond the safety of technological life to desire combat, tragedy, desolation and triumph. Ildjarn/Sort Vokter cycled deconstruction back into creation from the simplest, most inherent elements possible. Enslaved translated ancient folk music into breathtakingly beautiful modern arias to the uncertainty of challenge and the peace of mind in striving for higher purposes. Burzum awakened the impulse toward fantasy and appreciation of the ancient past in mortals with music that inspires the dark id which desires more than the comfort our egos can provide. Emperor made sweeping twilight sympathies which inspired the capacity for dream in those who had thought life had no more surprises. Graveland rendered a dark ambience from archaic styles of folk melody and rejuvenated our capacity for faith in that which is greater than the individual.

This is not a complete list. There are plenty of runners-up, but to see those you'll have to hit the bands listing.