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Thrash metal is a subgenre of heavy metal that is characterized by its fast tempo and aggression. Thrash metal songs typically use fast, percussive and low-register guitar riffs, overlaid with shredding-style lead work. Thrash metal lyrics often deal with social issues using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The "Big Four" bands of thrash metal are Anthrax, Megadeth, Metallica, and Slayer, who simultaneously created and popularized the genre in the early 1980s.
The origins of thrash metal are generally traced to the late 1970s and early 1980s, when a number of bands began incorporating the sound of the New Wave of British Heavy Metal, creating a new genre and developing into a separate movement from punk rock and hardcore. This genre is more aggressive compared to its relative, speed metal, and can be seen in part to be a reaction to the lighter, more widely acceptable sounds and themes of glam metal.
Thrash metal generally features fast tempos, low-register, complex guitar riffs, high-register guitar solos, double bass drumming, and aggressive vocals. Most thrash guitar solos are played at high speed, as they are usually characterized by shredding, and use techniques such as sweep picking, legato phrasing, alternate picking, string skipping, and two-hand tapping. Thrash lead guitarists are often influenced by the New Wave of British Heavy Metal movement. Thrash guitar riffs often use chromatic scales and emphasize the tritone and diminished intervals, instead of using conventional single scale based riffing. For example, the main riff of Metallica's "Master of Puppets" is a chromatic descent, followed by a chromatic ascent based on the tritone. Rhythm guitar playing is characterized by extensive palm muting and down picking to give the riffs a chugging sound, along with extensive use of the pedal point technique (creating what can be considered a distinctive, 'thrashy' sound). Speed, pacing, and time-changes also define thrash metal. Thrash tends to have an accelerating feel which may be due in large part to its aggressive drumming style. For example, thrash drummers often use two bass drums, or a double-bass pedal, in order to create a relentless, driving beat. Cymbal stops/chokes are often used to transition from one riff to another or to precede an acceleration in tempo. To keep up with the other instruments, many thrash bassists use a pick. However, some prominent thrash metal bassists have used their fingers, such as Frank Bello, Greg Christian, Jack Gibson, Steve DiGiorgio, Robert Trujillo and the late Cliff Burton. Several bassists use a distorted bass tone, an approach popularized by Burton and Motörhead's Lemmy.
Lyrical themes in thrash metal include isolation, alienation, corruption, injustice, addiction, suicide, murder, warfare, and other maladies that afflict the individual and society. Humor and irony can occasionally be found, but they are limited, and are the exception rather than the rule.
Inclusive thrash metal music subgenres:
- Crossover thrash, often abbreviated to crossover, is a form of thrash metal that contains more hardcore punk elements than standard thrash. It is sometimes referred to as punk metal, though this is generally incorrect due to the existence of other music genres that combine forms of punk rock and heavy metal, such as grunge, crust punk, and more recently metalcore and its subgenres. While thrash metal is heavily influenced by hardcore punk, the overall sound of crossover thrash is more punk-influenced yet more metal-sounding and aggressive than traditional hardcore punk and thrashcore. The term was coined by the band D.R.I. with their album Crossover, released in 1987. The term 'crossover' is based on the metaphor of crossing over from one genre into the other, thus capturing artists the operate within the transition zone between thrash metal and hardcore punk. With the metaphor comes the conception of directionality, such that the genre is applied to hardcore and crust punk artists who have crossed over into thrash metal territory, such as D.R.I., Discharge, The Exploited, The Accüsed, Agnostic Front and Suicidal Tendencies (who eventually ventured into alternative metal), and thrash metal artists who crossed over into hardcore punk territory, such as Nuclear Assault and S.O.D. A number of death metal bands (especially those of the first wave of Swedish death metal) draw on hardcore punk, mainly because their members listen to crossover thrash - these bands are included under the death metal subgenre here at the MMA.
- Death-thrash combines elements from thrash metal and death metal. The most common type of death-thrash is based on thrash metal music (often played a bit faster than standard thrash metal) with growled vocals. Sepultura's "Schizophrenia", "Beneath the Remains", and "Arise" are considered examples of death-thrash. Given that death metal is derived from thrash metal, many early death metal bands played a style that was anchored thrash metal and could be considered death-thrash. Many of those artists are included under the death metal genre here on MMA.
- Technical/progressive (or tech/prog) thrash metal is considered a legitimate genre by some (or even two legitimate genres), while others argue that it is a pseudo-genre. Bands included in this genre take emphasize technicality in their music, in the form of complex riffs and/or complex song structures, while others apply the ethos of progressive music more broadly without straying from their basic thrash metal sound. Examples of artists that are sometimes considered tech/prog thrash metal acts are Dark Angel, Death Angel (especially on "Act III"), Annihilator, Artillery (especially on "By Inheritance", "When Death Comes", and "My Blood"), and Invocator. Releases like "Master of Puppets" and "...And Justice For All" by Metallica are quite progressively oriented with complex song structures and numerous sections per song. Some bands like Voivod, Antithesis and Watchtower took the progressive approach so far that they are primarily considered progressive metal artists rather than thrash metal artists.
- Blackened thrash metal is thrash metal with black metal elements. Its thrash metal basis is more primitive and akin to early German thrash metal. Examples of blackened thrash metal bands are Assaulter, Aura Noir, and The Metaphor. It should be mentioned that much early black metal, such as Venom and Hellhammer/Celtic Frost actually had its roots in thrash metal.
Source:
http://en.wikipedia.org/wiki/Thrash_metalWritten by Time Signature.
Sub-genre collaborators (+ child sub-genres & shared with Speed Metal and Groove Metal): - Vim Fuego (leader)
- Nightfly
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Demo · 1983 ·
Thrash Metal
UMUR
"Power in Black" is the first demo recording by US thrash/speed metal act Overkill. The demo was independently released in September 1983. Overkill formed in 1980 and went through some lineup changes before arriving at the quartet lineup who recorded this demo. It´s the "classic" Overkill lineup who survived up until the late 1987 "!!!Fuck You!!!" EP.
"Power in Black" features five tracks and a total playing time of 18:06 minutes. "Overkill", "There's No Tomorrow" and "Raise the Dead" were re-recorded and included on Overkill´s debut full-length studio album "Feel the Fire" (1985), but not before "Overkill" had been re-recorded an included on the 1984 "Overkill" EP. The two remaining tracks from this demo ("The Beast Within" and "Death Rider") have yet to be re-recorded.
Stylistically this is raw and gritty speed metal delivered with an attitude and the right amount of wild man aggression. The rather lo-fi production values require some getting used to, but once you get over that obstacle it´s interesting to hear how well playing the band were already this early on and how great Bobby "Blitz" Ellsworth sounds. He is such a unique frontman and his great energy and attitude are audible here.
So despite being a very crude, sometimes murky, and not particularly great sounding demo recording, "Power in Black" still showcases how great Overkill were as a band and how promising their early material was. A 2.5 - 3 star (55%) rating is warranted.
Album · 2024 ·
Thrash Metal
UMUR
"Guardian of the Universe" is the third full-length studio album by US, Seattle, Washington based death/thrash metal act Oxygen Destroyer. The album was released through Redefining Darkness Records in August 2024. It´s the successor to "Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" from August 2021, although the two full-length studio albums are bridged by the July 2022 "Spawned by the Horrors of Thermonuclear Warfare" compilation album. There have been no lineup changes since the predecessor and Oxygen Destroyer have in fact had a stable lineup since 2018.
Oxygen Destroyer have been a consistent force since day one delivering furiously fast-paced death/thrash metal with caustic aggression and a rabig dog snarling vocalist in front, and they continue to deliver exactly that on "Guardian of the Universe". There have been next to no development between "Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" and this album, and it´s both a strength and a weakness. A strength because Oxygen Destroyer is such an energetic and well playing band and because they write powerful and intense death/thrash metal of the highest quality (and continue to present their music in a crisp, powerful, and detailed sound production). A weakness because "Guardian of the Universe" simply sounds too much like the last album. Just a little bit of development or something else to distinguish "Guardian of the Universe" from "Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" would have been greatly appreciated.
But when that is said fans of late 80s/early 90s death/thrash metal and (early) Merciless in particular (and the most vicious mid-80s Kreator tracks) are recommended to take a listen to "Guardian of the Universe". Oxygen Destroyer is arguably one of the greatest contemporary death/thrash metal acts on the scene, but although I usually praise an uncompromising attitude towards songwriting, I´d say it´s time Oxygen Destroyer added new elements and variation to their music. Both in terms of overall sound, but also between tracks, because "Guardian of the Universe" pretty much sounds like the same song being played for 33:28 minutes. It´s a great song...but again a little more variation wouldn´t have hurt. A 3.5 star (70%) rating is deserved.
Album · 2018 ·
Thrash Metal
UMUR
"Old School Killspree" is the debut full-length studio album by Finnish thrash metal act The Hirvi. The album was released through Inverse Records in June 2018. The Hirvi formed in 1987 and released a demo in 1989 before disbanding. Although they were an influential band on the brutal thrash metal scene of late 1980s Finland, they never managed to release anything other than the 1989 demo. The Hirvi reunited in 2017.
Two of the three tracks from the 1989 demo have been re-recorded and included on "Old School Killspree" ("Satan´s Back" and "Killer Instinct"), and although they are obviously older tracks than the remaining tracks on the album, they seamlessly melt in with the new material (although admittedly I have no information about when the remaining material was composed, so it could have been written in the late 80s/early 90s before the band split-up). The Hirvi have managed to create "Old School Killspree" to sound like it´s the natural successor to the 1989 demo although 29 years have passed. It´s only the more crisp, detailed, and professional sounding production values, which give away the fact that "Old School Killspree" was released in 2018. The sound production is raw and powerful suiting the material well.
Stylistically The Hirvi play an aggressive thrash metal style which is influenced by an artists like Kreator but with experimental/progressive ideas thrown in and when those ideas and dissonant chords appear I´m thinking of Voivod. A contemporary act like Vektor is also a valid reference. There´s an odd "fun" edge to the music too, which includes rock´n´roll solos and other non-thrash metal traits, and to my ears The Hirvi take it a bit too far during those sections as the album becomes a little inconsistent in style. So, while this is at its core still aggressive thrash metal, it´s not an abrasive all out furious affair. There are way too many experimental/progressive elements to make such a simple description of the music. The highly experimental "Dance Dance Dance" is probably the best example of how eclectic The Hirvi are.
Although "Old School Killspree" is certainly both well performed (the raw snarling vocals are a real treat), well produced, and also well composed, it is the songwriting which will cause confusion among some listeners. You have to be an open-minded thrash metal listener to be able to appreciate all aspects of The Hirvi´s music. When that is said "Old School Killspree" is overall a high quality release and it´s certainly challenging the boundaries of what thrash metal can be. A 3.5 star (70%) rating is deserved.
Movie · 2012 ·
Thrash Metal
martindavey87
Pretty standard Metallica live DVD here. Great set, fantastic sound and visuals, and the band all on top form as always (even Lars does alright!). The metal legends, touring to promote 2008’s ‘Death Magnetic’ have gone back to their old-school way of having the stage in the middle of the venue, kind of making this feel like ‘Cunning Stunts’ all over again, except, ten years wiser and more mature. And while they may not have the same drive and ambition as they did in the 90’s, it’s clear to see that this is an alcohol and drug-free band, who are just having the time of their lives up on stage.
Featuring all the hits you’d come to expect, such as ‘One’, ‘Enter Sandman’, ‘Sad But True’, ‘Broken, Beat and Scarred’, ‘Battery’ and a whole host of others, including some “bonus track” surprises, such as ‘Turn the Page’, ‘Holier Than Thou’ and ‘Breadfan’, this is a great DVD that may not stand out in the bands discography as much as previous releases ‘Live Shit: Binge & Purge’, ‘Cunning Stunts’ or ‘S&M’, but is still plenty worthwhile owning, and certainly enough to satisfy any Metallica fan.
Movie · 2013 ·
Thrash Metal
martindavey87
Regardless of the results, I’ll always give Metallica credit for not being afraid to try new things. Going from thrash metal to alternative rock, playing with an orchestra, side projects with Lou Reed and now this… a concert movie?
And the results here, as expected, are pretty mixed. The actual movie aspect doesn’t make much sense. With a daft storyline interspersed with the concert footage, and at times tying into the show itself. Sometimes with the band actually even doing little choreographed bits on stage, this all comes across as a bit awkward at times, and is probably more of a detriment than anything.
However, the concert footage itself is absolutely gorgeous! The visuals are fantastic and the high-definition video really gives it a crystal-clear picture, with some very cool camera angles and some awesome close-ups. Along with all the usual Metallica pyrotechnics and on-stage stunts and props, this is like ‘Cunning Stunts’ on steroids.
But sadly, that’s pretty much the only highlight. There’s a whole hoard of extras, including behind-the-scenes documentaries, Q&A sessions, trailers, music videos, and a whole bunch more, but it’s mostly all pretty bland and generic, with the only saving grace being that live footage. I wish they’d just done an entire concert DVD recorded like this, because that part, really is THAT damn good!
Movie · 2009 ·
Thrash Metal
martindavey87
‘Francais...’ is one of three Metallica DVD’s that all seemed to pop up around a close time-frame of each other (the others being similar concerts from Mexico and Quebec). Released in 2009, it features Metallica touring to promote their fairly new release, ‘Death Magnetic’, from the previous year. On this concert DVD, the set list is solid, the playing is fantastic, and the visuals are excellent. The setting is an old amphitheatre that looks absolutely beautiful as a music venue. The only setback was that this lacks a lot of the pyrotechnics and effects that their arena shows afforded them. So unless you’re a huge fan, it might get a bit boring just sitting here and watching them, well, just play for over two hours.
Still, it’s a great DVD, and the band is on top form, with boundless energy and enthusiasm, we even see quite a few songs that hadn’t been played live in a long time! And with a few added extras (interviews, extra footage etc), this makes for a worthy addition to any Metallica fans collection.
