You’ve heard of these lost metal albums and you’ve wanted to listen to ’em, but they don’t exist. At least not in any publicly available space. These are the records that we all wish we could finally lay ears on, but y’know – can’t.
Cannibal Corpse – Created To Kill
In 1995, Cannibal Corpse entered the studio to record what was intended to be their follow-up to The Bleeding, with new vocalist Chris Barnes still fronting the band. The working title for the record was Created to Kill, and early recording sessions reportedly captured an even more brutal, stripped-down sound than their previous work.
However, tensions within the band were high during the process. Creative disagreements, combined with dissatisfaction over the performances and overall feel of the material, led to mounting frustration. Ultimately, the situation came to a breaking point when the band decided to part ways with Barnes before the album could be completed.
With Barnes gone, Cannibal Corpse brought in George “Corpsegrinder” Fisher, formerly of Monstrosity, and re-recorded the entire album with revised lyrics and vocal arrangements. The result was released later that year under the new title Vile, marking Fisher‘s debut with the band and the beginning of a new era in their career.
While Created to Kill as originally envisioned was never officially released, rough mixes of the Barnes-fronted sessions have circulated among collectors and appeared on bootlegs, offering a glimpse into what might have been. The abandoned album remains a fascinating transitional artifact – representing both the end of the band’s early chapter and the birth of its most enduring lineup.
Deftones – Eros
Eros was intended to be the follow-up to Deftones‘ acclaimed 2006 album Saturday Night Wrist, with recording sessions beginning in 2008. Deftones entered the studio aiming for a raw, experimental sound that leaned into heavy, atmospheric textures and unorthodox song structures.
According to Deftones members, the material was darker and more aggressive than its predecessor, capturing a volatile creative period for the group. Midway through the process, tragedy struck when Deftones bassist Chi Cheng was seriously injured in a car accident, leaving him in a coma. In the wake of the accident, the band put Eros on hold, feeling that the material no longer represented where they were emotionally, and instead began working on what would become Diamond Eyes in 2010.
Since then, Eros has taken on an almost mythical status among Deftones fans. Snippets and leaked demos (even some by the band – including a live performance) have circulated online, offering glimpses into its murky, abrasive aesthetic, but the album remains officially unreleased. Over the years, frontman Chino Moreno and other members have occasionally hinted at the possibility of Eros eventually seeing the light of day, often framing it as something they’d like to share when the timing feels right
These intermittent teases have kept fan interest alive for more than a decade, turning Eros into one of alternative metal’s most anticipated and elusive lost albums.
Gojira – Sea Shepherd
In 2010, French progressive death metal band Gojira partnered with the marine conservation organization Sea Shepherd to raise awareness and funds for ocean protection. The collaboration stemmed from Gojira‘s long-standing environmental activism, particularly their concern over illegal whaling and the destruction of marine ecosystems.
Sea Shepherd, founded by Captain Paul Watson, is known for its direct-action campaigns to defend marine wildlife, often confronting whaling vessels and illegal fishing operations at sea. Inspired by the group’s uncompromising approach, Gojira dedicated their 2010 song “Of Blood and Salt” to the cause, and began selling exclusive charity merchandise to benefit Sea Shepherd’s missions.
The partnership went beyond fundraising; Gojira actively promoted Sea Shepherd’s work during their tours, using their platform to reach fans who might not otherwise be exposed to environmental activism. They also planned a special EP, Sea Shepherd, which was to feature collaborations with artists like Devin Townsend and Meshuggah‘s Fredrik Thordendal, with proceeds going entirely to the organization.
Unfortunately, due to logistical and recording delays, the EP was never officially released, though some tracks and collaborations leaked online in unfinished form. Though they’ve certainly been trying to finish it again.
Judas Priest – Unnamed Collaboration with Stock Aitken Waterman
In the late 1980s, Judas Priest surprised fans and industry insiders by entertaining a collaboration with pop powerhouse producers Stock Aitken Waterman, best known for crafting slick, synth-driven hits for artists like Kylie Minogue, Rick Astley, and Bananarama. The idea was bold: merge Judas Priest‘s high-octane heavy metal with SAW’s polished, radio-friendly production in hopes of pushing the band into a broader commercial spotlight.
However, the collaboration was short-lived. While at least one demo track is rumored to have been recorded, the stylistic gulf between Judas Priest‘s gritty, guitar-centered metal and SAW‘s bright, synthetic pop proved difficult to reconcile. Creative differences reportedly surfaced almost immediately, and both parties decided to abandon the project before anything could be released. The recordings have never surfaced – though Rob Halford wants them to be.
Necrophagist – Unnamed Third Album
After the release of Epitaph in 2004, German technical death metal pioneers Necrophagist quickly became one of the most celebrated and influential bands in the genre. Fans eagerly awaited a third album, as Necrophagist leader Muhammed Suiçmez hinted at new material that would push the boundaries of technicality even further.
Reports over the years suggested that Suiçmez had been experimenting with extended-range guitars, advanced compositional techniques, and even orchestral arrangements to create a record that would redefine tech-death. Rumors of demos and partially completed tracks circulated, fueled by occasional and rare updates from the band.
Despite repeated assurances that the album was in progress, the project gradually fell into limbo. Lineup changes, long production delays, and Suiçmez‘s reputation for meticulous perfectionism all contributed to its indefinite postponement. By the early 2010s, hopes for the record began to fade, as Necrophagist ceased live performances and went silent publicly… or broke up, or just didn’t want to release the album.
Slipknot – Look Outside Your Window
Look Outside Your Window is a long-shelved Slipknot side project recorded in 2008 during the All Hope Is Gone sessions, featuring Corey Taylor, Jim Root, Shawn “Clown” Crahan, and Sid Wilson. Unlike Slipknot‘s usual aggressive, percussive metal, the material took on a far more experimental, melodic, and atmospheric tone, drawing comparisons to Radiohead or Pink Floyd.
The songs emerged from jam sessions that didn’t fit the main album’s direction, leading the participating members to envision it as a standalone, almost art-rock-style record. From the start, Look Outside Your Window was described as something deeply personal and creatively freeing for the members involved, with Clown in particular championing it as an important, emotionally rich piece of music.
Since its creation, the album has developed an almost mythical status among Slipknot fans due to its perpetual “any day now” release teases. Over the years, Clown and Corey Taylor have repeatedly hinted at imminent plans to put it out – sometimes tied to anniversaries, other times to gaps between Slipknot albums – but each time, the release has been delayed or deprioritized.
Whether due to label politics, concerns over timing, or simply the band’s relentless touring and recording schedule, Look Outside Your Window has remained unreleased for more than 15 years. Its near-constant state of being “almost ready” has only fueled its legend, making it one of the most anticipated and elusive pieces of music in modern metal lore. But who knows – 2025 might be the year we get to hear Look Outside Your Window?
System Of A Down – Failed New Album
Since the dual release of Mezmerize and Hypnotize in 2005, System of a Down have repeatedly tried – and failed – to complete a new album, with every attempt derailed by long-standing creative and personal differences. The heart of the impasse lies between guitarist Daron Malakian and vocalist Serj Tankian, who have different visions for how the band should write, arrange, and release music.
Malakian has often pushed for a return to the collaborative, fast-moving style that produced their early work, while Tankian has been more selective and deliberate, preferring a balanced creative process where all members have an equal say. Over the years, interviews from both sides have painted a picture of mutual respect but deep frustration, with bassist Shavo Odadjian even publicly lamenting the stalemate. Despite fan demand, every “we’re talking about it” update has ultimately ended in the same result. No album.
One of the clearest signs of the deadlock is how members have repurposed songs originally intended for System of a Down into other projects. Daron Malakian has admitted that much of the material for his Scars on Broadway albums began as ideas for System of a Down.
Similarly, Serj Tankian has used his solo work to release songs he might once have brought to the band, containing riffs and melodies that could easily fit within a System of a Down framework. Even the band’s brief 2020 reunion for “Protect the Land” and “Genocidal Humanoidz” showed this dynamic, as those songs were largely drawn from Malakian‘s backlog.
In effect, System of a Down‘s inability to align creatively hasn’t just delayed an album – it has scattered the band’s potential future discography across side projects, making it increasingly unlikely that a unified new record will ever materialize.
Textures – Genotype
Before their breakup in 2017 (they’ve since reformed), Dutch progressive metal band Textures had ambitious plans for a two-part conceptual project. The first half, Phenotype, was released in 2016 to strong acclaim, blending the band’s signature mix of djent-influenced technicality, melodic atmospheres, and complex song structures.
The second half, Genotype, was intended to be a companion album exploring the same core musical and lyrical themes from a very different perspective. While Phenotype was a tightly focused, song-driven record, Genotype was envisioned as a single, continuous, 45-minute-long composition – a sprawling progressive journey that would expand and reinterpret ideas introduced on its predecessor. The two records were meant to form a complete artistic statement when experienced together.
Unfortunately, Genotype was never completed or released. In May 2017, Textures announced their split, citing personal and logistical reasons, effectively shelving the project. The breakup left fans with only half of the intended story, as no official recordings or demos of Genotype have surfaced.
Members have expressed regret that the album will never be heard, with guitarist and main composer Jochem Jacobs acknowledging how far along the concept had been developed. Today, Genotype stands as one of modern progressive metal’s great “lost” albums – an unfinished work that could have offered a unique, continuous-format counterpart to Phenotype, but instead exists only in band interviews, fan speculation, and the imaginations of listeners.
