Long Island’s brutal death metal progenitors Suffocation have been gouging out the eyes of unsuspecting music fans for well over three decades at this point. Their influence on extreme metal is undeniable, and while we at the Hard Times are far from sages on the subject, we wager that the whole of death metal would sound like Neutral Milk Hotel today had they not been around to help shape the sound. We are always up for a challenge, and have set out to rank all of their albums while knowing full well that not a single dud exists. There was never any real risk of Suffocation putting out an acoustic LP or some befuddling collaboration with Lou Reed. These are essentially in order from “skull fully bludgeoned” to “skull pounded into dust after having been fully bludgeoned,” so count to ten and remember to take your blood pressure medication before you listen. Don’t say we didn’t warn you!
9. Breeding the Spawn (1993)
As die-hard fans of old-school death metal, it absolutely breaks our heart to put a Suffocation album from the early nineties in last place, but the production on this one steals the clout from a collection of truly well-written songs. The band themselves seem to agree with this, as the fact that they went on to re-record six of these tunes on later albums doesn’t necessarily stand out as a ringing endorsement. With that being said, there’s a lot to dig here, and the release sees the band in a perfect middle-ground between the raw punishment of their debut and the technical mastery of “Pierced from Within.” So make that glass half-full and view the rough production as a charming, nostalgic asset, and you’ll get some pure joy out of this one. After all, that’s how we enjoy almost every black metal album from that time.
Play again: “Prelude to Repulsion”
Skip it: “Ornaments of Decrepancy”
8. Blood Oath (2009)
This one’s got it all. Great riffs, great production, technical proficiency that doesn’t equate to audial masturbation, and vocals that would make Pazuzu himself jealous. Just listen to that double bass under the haunting starting riff at the onset of the title track. Goddamn, this one comes in hard! On the whole, there’s really not much we can say to criticize this album other than pointing out that it just doesn’t stand out much when compared to the below entries. We can’t shake the feeling that we’d be revering this much more had the band not possessed such a vast catalog, but whatever, this is the Hard Times, not Rolling Stone. Feel free to tell us we fucked up on this one; we’ll be too busy enjoying the riff on “Come Hell or High Priest” to give a shit.
Play again: “Provoking the Disturbed”
Skip it: “Undeserving”
7. …Of the Dark Light (2017)
Original frontman Frank Mullen’s swansong with the band came with this 2017 opus, and by God he went out on a high note. Just listen to him growl “You choke, cannot swallow, the truth has made you vomit” on “The Warmth Within the Dark.” We’re not sure what that means, but…hell yeah, we’re on board! Newbies and current members Charlie Errigo and Eric Morotti shine in the open slots at guitar and drums, respectively, and effortlessly keep those mind-bending Suffocation tunes we’ve all grown to know and love coming. It gets a little too technical for our tastes at times (we hear you, “Your Last Breaths,”) but we’re just nitpicking. Max out the volume on this baddie and go mosh some unsuspecting strangers.
Play again: “Return to the Abyss”
Skip it: “…Of the Dark Light”
6. Souls to Deny (2004)
We’ve gotta admit, we have a soft spot for “Souls to Deny.” This was their first full-length album in nine years when it came out, and there’s just something about a comeback album by Suffocation delivering a mallet to the crotch of every shitty Taking Back Sunday and Yellowcard song we were hearing at the time that results in us viewing this through rose-colored glasses. Or maybe we just have some residual teenage angst left over from our high school years. What do you want from us? We’re going to go watch the “Surgery of Impalement” music video. Seeing the band tear shit up in a junkyard or whatever should help us sort through these feelings. Fuck therapy.
Play again: “Subconsciously Enslaved”
Skip it: “Immortally Condemned”
5. Hymns from the Apocrypha (2023)
Guitarist Terrance Hobbs is the only remaining original member at this point, as Disgorge’s Ricky Myers makes his debut as head crooner, and goddamn does he fill those shoes nicely. Just listen to “Immortal Execration.” Is it the apocalypse, or is he just happy to see us? This album gets a little slammy at times, but we’re actually going to give the band props for that. Times are a changin’, and we like to see one of the most important creators of brutal death metal making the moves necessary to stay in the game. Also, bonus points for that album cover. We presume Ganon is dwelling somewhere at the end of those spine ramps, and it’s our destiny to hit that fucker with some light arrows. BRB, we’ll see you at #4.
Play again: “Perpetual Deception”
Skip it: “Embrace the Suffering”
4. Self-Titled (2006)
Alright! From the get-go, you know they’re not fucking around when “Abomination Reborn” starts up. This album takes the technical precision of “Souls to Deny,” hones the production, ups the ferocity of the vocals, and leaves us with a true exemplar of brutality that stands among the band’s best. Just try to listen to “Bind, Torture, Kill” without ending up with an A&E documentary about you in 20 years. Lyrics get a little silly at times, but whatever. There are only so many ways you can convey beating someone to death with a hammer, and the band had been well into its second decade at this point, so who are we to judge? Just appreciate Mike Smith’s drumwork and quit your bitchin’.
Play again: “Creed of the Infidel”
Skip it: “Translucent Pattern of Delirium” (we know we just excused the lyrical slip-ups, but “shut up?” come on now)
3. Pinnacle of Bedlam (2013)
And we’ve reached the pinnacle of post-reformation Suffocation (in our humble opinion.) “Pinnacle of Bedlam” shows itself as a perfect modern iteration of their nineties genius, with twisting riffs, solos that range from eerie to frantic, and crushing drumming from Dave Culross in his only full-length appearance in the band (though not his last appearance on this list.) There’s even a bit of melody in those riffs we’re hearing on the title track, and for some reason we’re not upset. The album cover is sick, too. It’s like Metallica’s “…And Justice for All” if it was brutal death metal with audible bass and infinitely less insufferable band members. Count us in.
Play again: “Inversion”
Skip it: Nahhhhhh
Honorable Mention: Despise the Sun (1998)
Are you about to head out on a two-mile run and are scrambling to put together a playlist to get you through it? Here it is. Done. You’re welcome. Just make sure to obtain proof of your time, because there is a 100% chance you’re going to end up qualifying for the next Olympics. Everything about this EP fucking rips, and we find ourselves revisiting it as often as the two albums below.
2. Pierced from Within (1995)
Focusing on rhythm without sacrificing on the brutality of its predecessor, “Pierced from Within” may very well be your favorite Suffocation album. In fact, it was very close to being ours. Every song is twisting, unpredictable, and above all, crushing. This is a landmark death metal release that has something to appeal to everyone. Odd time signatures? Done. Gut-wrenching death growls? Done. Masterful drumming? Done. Fucking arpeggios? Sure, why not? And it all works seamlessly. There’s a reason the band still opens its live shows with “Thrones of Blood” to this day. So quit reading this and go listen, you fucking nerd.
Play again: “Torn Into Enthrallment”
Skip it: None of it; not even the “Breeding the Spawn” rerecord at the end
1. Effigy of the Forgotten (1991)
We know what you’re thinking: with such a glowing review of “Pierced from Within,” why isn’t it number one? It’s because we’re fucking cavemen, that’s why. The abstract concept of brutality didn’t exist until the band laid down “Liege of Inveracity” some storied day in the early nineties, and we are forever grateful for that. Everybody in the band is absolutely crushing on this one, and Frank Mullen delivers a masterful performance; sounding like something out of a goddamn nightmare, and is even boosted by death metal stalwart George “Corpsegrinder” Fisher on “Reincremation” and “Mass Obliteration”. What more could we ask for? Maybe an accompanying shovel with our purchase so we could dig along to “Infecting the Crypts,” but now we’re just being persnickety.
Play again: All of it (that is, if you survived)
Skip it: Don’t even think about it.
There are a few good songs on this mess of an album. If you know anything about the band, you know this album was hastily thrown together along with the ill-conceived re-recording of “All Else Failed” (which is not on this list due to it just being a redux) to finish their contractual obligations. And yeah, it sounds like that. And while you might not think that would be the most conducive environment for art, sometimes no-stakes creativity can help you make some wonderfully weird, out-of-the-box stuff. And that’s what happens here with something like the dope underwater part in “A Pirate’s Prayer.” Unfortunately, it also may produce something like “Angel Without Wings.” Don’t make “Angel Without Wings.”
Nobody from this era of Zao is in the band anymore. Which is fine. But this isn’t a “is it really Morbid Angel without that one guy?” debate. This is a different band with a different sound than what Zao would become after these two albums. For what they are, these albums are fine. They’re a nice time capsule of the “spirit-filled hardcore” scene, which certainly had it’s time and place. Thankfully that time is a long time ago and the place is not here. Which is a thing. Again, they aren’t bad albums, and their weakness has more to do with the style and production at the time. But they really are a different band. When you wanna listen to Sugar Ray, you don’t put on “Lemonade and Brownies.” It might’ve been an important album for the band, but you wanna hear “Fly” or “ Every Morning” or maybe even “Falls Apart.” You don’t wanna hear “Rhyme Stealer.” Nobody does.
Barely.
A great comeback album, The Funeral of God has somewhat diminishing returns as time goes on. Certain albums in the band’s discography have a distinctive time and place. So when we say “This album came out on Ferret Records in 2004 and sounds like it,” some of you know exactly what we mean and some of you don’t. But it’s the truth. This isn’t a bad thing, it just IS. A concept album whose concept seemed almost shocking at the time, it now is filed under “yeah, I liked that one.” A couple solid bangers, but we’re not sure anyone will ever be clamoring for “The Funeral of God Anniversary Tour!”
And here is where we lose folks. For a lot of people this album is number one. Nostalgically it seems like the choice. This is in part because this album was groundbreaking for many when it came out. It’s still a great album. Some might say it’s the band’s sixth-best album. We’d say that, actually. But the thing is: bands can and do get better. And Zao gets better than this album. A lot better, actually. This album is classic, and if you grew up listening to “Lies of Serpents, River of Tears,” there’s a chance it’s etched in your brain as perfect. But it’s not. Good? Yes. Perfect? No. Nothing from your memory is. I mean, have you seen “Top Gun” lately? It’s good. Nobody is saying it’s not good, but honestly, “Top Gun: Maverick” is just a better movie.
While the band was apparently a mess at this point (and maybe not even really a band?) the chaos hadn’t fully affected the songwriting as much as it would for “A Parade of Chaos.” This album sees the Zao experimenting with different sounds, drums triggers (controversial for the time), and an overall vibe that just felt new for the band. What can we say? It was the year 2000. Everybody what doing wacky shit. The follow-up to the incredible “Liberate Te Ex Inferis” could’ve been a real disappointment. But instead, it produced one of the band’s more interesting albums. There’s an almost black metal feel to “A Tool to Scream” and the “burn it down a walk away” ending of “5 Year Winter” is a legendary breakdown that has seen many a windmill kick, which is really the only unit of measurement that matters. It’s their most experimental album and this time the experimenting pays off.
On any given day, this album could be closer to number one. Hell, it could BE number one. It is an absolute experience. It is the Zao version of falling down some stairs while carrying a laundry basket full of cinder blocks: It starts. it’s total chaos and pain. it’s over. You’re not sure what you really remember about it, but you’re glad you made it out. Recorded live to tape, Albini’s production is exactly what you think it’s gonna be. And that’s why the album can’t be number one. At times, this is the Zao you wanna hear. But this album will never be THE Zao album. It’s too much.
We love it when a band’s newer stuff actually beats out their “classic” albums. For one, it pisses readers off, which is actually the only reason Hard Times exists: to anger YOU specifically. But more importantly, this album shreds. Although at this point, the album is getting close to a decade old. So, soon it too will be a classic. Because Tom Cruise looks great for his age, but he still looks his age. He doesn’t look like he’s trying to come off younger than he is. Jennifer Connolly also looks fantastic and the two of them genuinely have chemistry. The age gap is there, but it’s not distractingly large. And then obviously Miles Teller and Glen Powell bring a new energy to the franchise that skeptics were unsure about. But they were wrong. The bottom line? “Top Gun: Maverick” is awesome and Zao is at the top of their game.
The best album from the “classic” Zao era. Great concept, great sound. In this album, Dan’s vocals move from “So I guess Zao is doing Carcass-worship?” to “This is Zao and it rules.” The movie clips, the production, and the overall feeling of dread on the album. It’s great. When this album was released, it sounded like we were listening to a horror movie. And that vibe pretty much holds up today. While “Where Blood and Fire…” introduced this version of Zao to the world, this album let everyone know they weren’t fucking around. Granted, in the next 25 years of the band there would be a lot of fucking around. But in 1999, Zao was eating everyone’s lunch.
It’s easy to shit on a band’s newest efforts, especially when they’ve been around as long as Zao. Often nobody wants to hear the new stuff. Just play the hits. But Zao is doing a great job of putting out quality in their later years. The progressive elements make sense. The slow plodding nature of the album feels intentional and moody. While it was not on our bingo cards, Zao is somehow one of the only metalcore bands from the ‘90s that neither abandoned their classic sound nor refused to mature and evolve. They have expertly threaded that needle. Sure would be nice if they shared the secret with everyone else. Instead, we gotta keep going to all these anniversary shows where the band slips in shit off their new albums, like we won’t notice. WE’RE HERE FOR NOSTALGIA, YOU DORKS. Unless you’re Zao. Then we’re here for it all.
“I know not of this 9/11 you speak, but from today henceforth I solemnly vow that I shall know no rest until I have found it and made it taste the full might of my hammer! Can you describe the beast?”
Hulk’s alter ego Bruce Banner provided an understandable reason for not stopping one of the greatest tragedies on American soil.
“If they let the only all-girl team stop 9/11 the internet manosphere would fucking riot.”
“Best we could have done was make 9/11 smaller, or possibly bigger.”
“No matter how many form-fitting tactical outfits I did kicks in that day those planes just kept coming. Oh well, can’t win ’em all!”
“I stop 9/11 every day! Sorry I took one day off in 2001!”
“First I’m hearing of it.”
“I’ve been petitioning Boeing for years to build an airplane that explodes when you hit it with an arrow, but do they listen?!”
“Don’t blame me! I voted for Gore.”
“I’ve never seen 9/11, I think it came out before I was born? I heard it was great though.”
“I can’t really remember what I even do. I’m like a magic guy, right?”
“I stopped 9/11 in a bunch of other universes but honestly, after a few dozen, you get bored.”
“Because no one said ‘exhibition, tarnished, eleven, ladies night, microwave, forty-two, subway car, Dallas’ to me in that exact order.”
“If 9/11 didn’t happen, they never would have made “Loose Change.” I love that movie!”
“Did you ask Queen Elizabeth II the same question? How about King Willem-Alexander of the Netherlands? You see where I’m going with this.”
“Seriously? My name is WAR MACHINE. Maybe if it was “Peace Machine” I would have done something, but probably not because “Peace Machine” sounds like a real bitch if you ask me!”
“There’s actually no spell for stopping 9/11s. I got Pearl Harbor, January 6th, The Challenger explosion, but no 9/11. It’s weird!”
“By the time we found the perfect song to stop 9/11 too, it was already too late. Chumbawamba, “Tubthumping.”
“Well, the first time I lived through 9/11 I was frozen in a block of ice so, you know, absent excused. The second time let’s see, I was probably balls deep in my girlfriend Peggy Carter. We would have been in our early 70s by then but she was still a whole lot of woman, and me? Well, I’m Captain America.”
“I actually DID stop 9/11, but it didn’t test well so we went into reshoots. We just wrapped and even though that horrible tragedy still happened, I think the audience is going to be happy with the results. You didn’t hear this from me but… Red Hulk. Ha! I’ve said too much.”
“I was dealing with my own personal 9/11 at the time, by which I mean two female flutists from the London Philharmonic. One was a nine, and the other, let me tell you, she was an eleven. You get that I had sex with them, right?”
“The same reason we haven’t prevented any of the huge global catastrophes we’ve idly witnessed through the ages, we don’t GIVE A FUCK yo!”
“Using the Eye of Agamotto, I glimpsed into over 14 million possible futures, and the one where 9/11 happened was the only one where we got U.S ground forces into Iraq. I allowed 9/11 to happen for the greater good, and history will vindicate me along with the Bush administration.”