"March of the pigs" off of the downward spiral by Nine Inch Nails flips between 3 bars of 7/8 and one bar of 4/4 during the verses. The choruses are in 4/4, as are the end of the choruses, but the ends have a complete change of feel.
"La Mer" off of The Fragile by Nine Inch Nails starts out in 3/4, and stays there, but when the drums enter they are in 4/4, so there's a nice metric dissonance there. Also, the first song on the same album is in 3/4, but the original feel gets shifted by one eighth note once the drums come in. The penultimate song on the album is particularly complex: the overall feel, especially once the pounding drums enter is 4/4 at 110 bpm. However, the sneering tritone line that moves from synthesizers to guitars across the course of the song is at 147 bpm, alternating 2 12/8 bars with a 2/4 bar. (There are a lot of different ways to describe what's going on here actually, including just calling it a super-complex syncopation, but this is the analysis I find most interesting.)
In the "classical" world, don't forget Stravinsky's Rite of Spring, especially if you can get ahold of the score. He does similar stuff in a lot of his work, including The Firebird and Petrushka. Bartók is another good one to look at, try his fourth string quartet.
Essentially anything by Meshuggah fits the bill. Lots of complex- and multi-meter on Destroy, Erase, Improve, and by the time you get to the full-album-length song I the shifting is too constant to even reasonably apply a time signature. At least that's Jonathan Pieslak's analysis in his article "Re-casting Metal" in Music Theory Spectrum.