Thrash Metal

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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_metal

Written by Time Signature.

Sub-genre collaborators (+ child sub-genres & shared with Speed Metal and Groove Metal):
  • Vim Fuego (leader)
  • Nightfly

thrash metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

METALLICA Master of Puppets Album Cover Master of Puppets
METALLICA
4.54 | 255 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.51 | 216 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.45 | 207 ratings
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ANNIHILATOR Never, Neverland Album Cover Never, Neverland
ANNIHILATOR
4.43 | 73 ratings
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
SEPULTURA
4.40 | 86 ratings
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SUICIDAL TENDENCIES Lights... Camera... Revolution! Album Cover Lights... Camera... Revolution!
SUICIDAL TENDENCIES
4.56 | 16 ratings
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
ANNIHILATOR
4.39 | 61 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
FORBIDDEN
4.49 | 21 ratings
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DARK ANGEL Darkness Descends Album Cover Darkness Descends
DARK ANGEL
4.46 | 23 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
EXODUS
4.38 | 47 ratings
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METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.32 | 199 ratings
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HEATHEN The Evolution of Chaos Album Cover The Evolution of Chaos
HEATHEN
4.67 | 9 ratings
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thrash metal Music Reviews

BODY COUNT Body Count

Album · 1992 · Crossover Thrash
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siLLy puPPy
Ice-T had already shown his appreciation for metal and punk on his hip hop classic “The Iceberg / Freedom Of Speech… Just Watch What You Say” with the music of Black Sabbath introducing the album alongside Jello Biafra giving a speech about the impending police state. On his followup “O.G. Original Gangster” he cleverly advertised a new track called “BODY COUNT” which introduced the band of the same name where along with Ernie C (lead guitar, acoustic guitar), D-Rock the Executioner (rhythm guitar), Beatmaster V (drums), Mooseman (bass) and the two Seans: E Sean (sampler, backing vocals) and E. Mac (hype man, backing vocals), he and his posse were determined to jump back into the rock universe that most black musicians had abandoned for the safer ground of soul, funk and hip hop.

On the debut album BODY COUNT, Ice-T and gang followed in the footsteps of T’s solo album’s stylistically and lyrically only they left behind the funky beats and rapped lyrics (mostly) and traded them in for a metal and punk infused musical outburst that took elements of thrash, punk and trad metal and incorporated the hard hitting hip hop subject matter of inner city life. BODY COUNT took everyone by surprise. It shocked the hip hop community which mostly eschewed the world of rock music and strived to separate itself (despite Run-DMC bringing hip hop to the masses with tasty guitar riffing tunes). Of course accusations of selling out plagued Ice-T at this time but he politely reminded his fans that rock WAS black music with its origins stemming from Chuck Berry, Little Richard and of course the great Jimi Hendrix.

With a brash bravado ever present on all his albums, BODY COUNT unapologetically tapped into the world of heavy metal where the band was also condemned for trampling on sacred cows. Metal purists hated this album and when the band played an impromptu appearance opening for Metallica and Guns N Roses in 1993, the band was plodded with dirt clods. Hard to believe but in a genre that is all about shock and awe, many were not open minded enough to allow an all black band to express themselves in the context of heavy distorted guitar oriented music that whites had come to dominate throughout the 80s. Despite the haters, the album still generated a lot of interest following in the footsteps of another black band, Living Colour who had put African-American oriented heavy rock back on the map with their phenomenal debut “Vivid.”

Ice-T generated controversy wherever he went and flipped the middle finger with glee and on BODY COUNT he only continued his “fuck the world” stance and in the process created one of the ugliest albums of his career in a good way of course. The album is bookended by two slams of cops. The introductory skit of “Smoked Pork” finds a cop unwilling to help a downtrodden black man and ends up dead whereas the original version ended with the anthemic “Cop Killer” that triggered the wrath of the entire American police force. All the controversy generated enough pressure for the band to remove the song off future releases that was subsequently replaced by “Freedom Of Speech” which sampled a Jimi Hendrix groove and once again featured Jello Biafra along with Ice-T delivering biting criticism over the state of true freedoms in a country that claims to protect them.

This album is really awesome! Despite the lack of technical musicianship or extraordinary metal talent, this is a lot of fun and displays a lost spirit of music delivering a message. The album is divided up amongst extremely serious topics such as the saddening plight of the African-American communities being left to rot in ghettos, left to battle each other to the death with gang shootings and drug escapism running rampant. This theme is most evident on the title track, “Bowels Of The Devil” and “There Goes The Neighborhood,” but Ice-T has no problem injected a lot of humor into an otherwise bleak outlook on the American culture. “KKK Bitch” is a hilarious sequel to Ice-T’s “The Girl Tried To Kill Me” which narrated an unbelievable tale of a near fatal experience with a dominatrix, however in this case it’s about having nasty sexual relations with the daughter of the KKK! Likewise, one fo the funniest tracks in music history, “Evil Dick” demonstrates how men in general are mere slaves to their master slaves, their saluting members of the priapic libido army.

Ice-T originally rejected the idea of joining his friends’ metal band because his singing voice isn’t exactly the best and that perhaps is the weakest aspect of the album but i couldn’t think of a better rapper to have been involved in this project than Ice-T. His lyrical biting critiques and adept play on words adds a whole other dimension to this music that is missing from most metal bands which more than makes up for the lack of technical prowess. Despite not being the best singer, Ice-T does the job with an interesting mix of singing, semi-rapping and spoken narrations. The rest of the band ain’t bad either. The music mixes thrash metal, punk rock and more classic 80s metal. Ice-T spends the majority of the album critiquing the fucked up American scene but also pontificates against drug use on the melodic well-sung “The Winner Loses” and preaches against racism against whites on “Momma’s Gotta Die Tonight.”

While the controversy behind the track “Cop Killer” may have gotten this album more attention than it would’ve otherwise, the fact is that BODY COUNT is an infectiously well executed album that delivers hard hammering thrash riffs, epic trad metal melodies and brilliantly composed lyrical content. Subjects like voodoo, black ghetto life and African-American subject matter that are completely absent in most metal albums of the era are strewn all about BODY COUNT and make this a fascinating listening experience without sacrificing the true authentic metal experience. Metal purists who don’t like this can go fuck themselves. This album is brilliant on many levels. While the band would continue on and release not so brilliant albums, on this one they shine like no others of the other. A true alternative metal experience that doesn’t get enough love.

MEGADETH United Abominations

Album · 2007 · Thrash Metal
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martindavey87
Following on from 2004’s triumphant return from hiatus (actually, retirement, to be precise), Megadeth’s 2007 album, ‘United Abominations’ sees the band continue along with a renewed vigour, as Dave Mustaine and a fresh line-up charges on with the thrash metal sound of old, proving that Megadeth can still maintain relevance in the new millennium.

Stylistically, this isn’t much different than its predecessor, ‘The System Has Failed’, however, while that album was mostly a Dave Mustaine solo effort with a bunch of guest musicians, ‘United Abominations’ comes from a band united (no pun intended). It’s clear that there’s a chemistry amongst everyone, and a high standard of musicianship. Brothers Glen and Shawn Drover (guitarist and drummer respectively) have already crafted a name for themselves with their band Eidolon, and bassist James LoMenzo has cut his teeth with an impressive résumé which includes the likes of Black Label Society, David Lee Roth and Tim “Ripper” Owens.

And the results are evident immediately, with some of the bands most furious guitar riffs, and an interplay not seen since the days of ‘Rust in Peace’ back in 1990. The music is incredibly tight, and Dave Mustaine’s vocals are as vicious and hate-filled as ever.

If there was any doubt that Megadeth’s comeback was a flash in the pan, then tracks like ‘Sleepwalker’, ‘Never Walk Alone... A Call to Arms’, ‘Washington is Next’, ‘Pray for Blood’, ‘Amerikhastan’ and a rather unnecessary but still pretty cool re-recording of their 1994 hit ‘A Tout le Monde’ are all proof that Megadeth are well and firmly back to their thrash metal roots, with ‘United Abominations’ being another high-quality album among an already impressive discography.

METALLICA Through the Never

Live album · 2013 · Thrash Metal
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martindavey87
Right, you know the deal. It’s Metallica, and it’s a live album, which means live versions of songs we’ve already heard countless live versions of. ‘Enter Sandman’, ‘Master of Puppets’, ‘One’, ‘Fuel’, ‘For Whom the Bell Tolls’, ‘Battery’, ‘Nothing Else Matters’, ‘Master of Puppets’, ‘Creeping Death’ etc, etc... Whether it’s on previous live releases, singles b-sides, live DVD’s, or the fact that Metallica record every show to download from their website anyway, we’ve already heard live takes of these tracks plenty of times.

And I mentioned ‘Master of Puppets’ twice just now. Were you paying attention?

Take heed though, for ‘Through the Never’ isn’t just another live album (well, it is, but let me explain). It’s also the soundtrack to their live “movie”, which is a bit of a weird concept, but fair play to them for trying something new. A live concert interlaced with movie footage that the band had had shot, featuring actors and telling a narrative based around a roadie for said concert, it wasn’t a massive success for the band, but this live album on its own merits is still very good.

Because yeah, essentially, movie aspects aside, this is just another live album.

Released in 2013, it shows that the band still sound great live, which is a venue in which Metallica has always flourished. With a well-rounded set that incorporates most of their major hits (sixteen tracks is pretty limited by Metallica standards, but they did the best with what they had), it’s got a good sound, and everyone’s on top form.

Overall, this isn’t an essential album to own, although it’s very good, and has a very well-rounded and easily digestible set for any newcomers, but ultimately, Metallica have released other live albums that are more in-depth than this, making this serve as nothing more than something for collectors and fans to own.

SEPULTURA Beneath the Remains

Album · 1989 · Thrash Metal
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UMUR
"Beneath the Remains" is the 3rd full-length studio album by Brazilian thrash metal act Sepultura. The album was released through Roadrunner Records in September 1989. Sepultura was formed in 1984 and released an early death/thrash hybrid in "Morbid Visions (1986)" and followed it up by the more purely thrash metal oriented "Schizophrenia" from 1987. By that time very few outside Brazil had heard of Sepultura, but that would radically change when they were picked up by Roadrunner Records, who gave "Beneath the Remains" a worldwide release. An almost instant hit among thrash/death metal fans the world over, "Beneath the Remains" to this day remains one of the seminal thrash metal albums in the brutal end of the scale.

Stylistically the music is aggressive and energetic thrash metal with the raw barking vocals of Max Cavalera in front. While the music is thrash metal to the bone, Sepultura was often associated with the early 90s death metal scene, and there are indeed some death metal traits to be found on "Beneath the Remains". The death metal influence is predominantly a result of the Morrisound Recording sound production courtesy of Sepultura and Scott Burns. "Beneath the Remains" was recorded in Nas Nuvens Studio, Rio De Janeiro, Brazil in December 1988, but mixed at Morrisound Recording, Tampa, Florida. It´s one of the first thrash metal releases to be graced by such a meaty, brutal, and heavy sound production, and the sound made the album stand out upon release.

Of course that wouldn´t have been enough, if the songwriting didn´t follow suit. But the material on "Beneath the Remains" is generally very well written and memorable. Personally I´ve always felt that the first part of the album is slightly more memorable than the second part of the album, and especially tracks like "Inner Self", "Stronger Than Hate", "Mass Hypnosis", and the title track stand out. The quality and catchiness of the remaining tracks are really high too though. The greatest asset regarding the material is probably that it has a unique sound. Many artists can play and write moderately interesting material, but Sepultura wrote material for "Beneath the Remains", which sounds original. You know almost instantly that it´s them playing when you hear the music.

In addition to the fast-paced thrash metal riffing, and the mid-paced heavy grooves, the music also features a couple of atmospheric parts, and some blistering solo work. The latter is both fast-paced screaming chromatic solos and more melodic themes and solos. The musicianship is strong and although Max Cavalera is a pretty one-dimensional vocalist with greatly accented vocals, his voice and phrasing still suits the music well.

So upon conclusion "Beneath the Remains" is arguably what you´d call a thrash metal "classic". It´s not that there aren´t artists out there who hadn´t released more ferocious material before this album was released (Slayer, Possessed, Kreator/Sodom/Destruction, and Dark Angel, just to mention a few), but Sepultura still managed to put a more brutal twist on thrash metal that helped build a bridge to death metal without being death metal, and that was something pretty new at the time. At least in the perfected form as it´s heard on "Beneath the Remains". A 4.5 star (90%) rating is deserved.

WITCHERY Symphony for the Devil

Album · 2001 · Thrash Metal
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UMUR
"Symphony for the Devil" is the 3rd full-length studio album by Swedish metal act Witchery. The album was released through Necropolis Records in September 2001. It´s the successor to "Dead, Hot and Ready" from 1999. Witchery was always a sort of project act as all involved also had other obligations with artists like Mercyful Fate, Arch Enemy, Opeth, Bloodbath, and The Haunted, but they´ve found time in their busy schedules to write and record "Symphony for the Devil".

Stylistically "Symphony for the Devil" is generally more of the same, so if you´re familiar with the blackened heavy/speed metal style of the preceding releases you´ll find few surprises here. In this particular case familiarity with the sound isn´t an issue though as Witchery deliver their music with a burning passion and great conviction. These guys are incredibly well playing but they are also skilled composers, who understand how a song affects a listener. The material on the 12 track (some versions omit the two closing tracks), 46:49 minutes long album is powerful, raw, and catchy blackened heavy/speed metal. So it´s both hard edged, fast, heavy, and more melodic (actually not far from the sound Mercyful Fate had in the 90s, just featuring extreme vocals). The blackened part of their sound is mainly due to the raspy vocal delivery, because other than that, and a limited amount of sections in the instrumental part of the music, this is traditional heavy/speed metal more than anything else.

The atmosphere is dark and occult which is further enhanced by the lyrical content. The sound production is clear, powerful, and raw, bringing out the best in the material. So upon conclusion "Symphony for the Devil" is yet another strong album release by Witchery and it´s certainly not audible that this project probably wasn´t the first priority for some of the members at the time. The songwriting is top notch, the musicianship on a high level, and the sound production is professional and well sounding, so all in all a 4 star (80%) rating isn´t all wrong.

thrash metal movie reviews

S.O.D. 20 Years of Dysfunction

Movie · 2005 · Crossover Thrash
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Vim Fuego
'20 Years Of Dysfunction' celebrated the anniversary of the release of the venomous `Speak English Or Die'. Recorded in three days, this relatively short album created huge waves in both the metal and hardcore scenes at the time. Sgt. D stomped into town, annoyed everyone and promptly left again. What started as Scott Ian's hardcore/metal crossover brainchild became Billy Milano's lovechild. S.O.D.'s vocalist has become its biggest fan, and pieced together its recorded history like a fan would.

Like Metallica's seminal `Cliff `Em All' video, the live footage here is mostly bootlegged, although generally of a better quality than the Cliff Burton memorial due to technological improvements.

This is an incredible compilation. For sheer power and head banging, fist pumping enjoyment, there is no better way to start any show than with "March Of The S.O.D/Sgt D & The S.O.D." Scott Ian stomps about the stage like a short, bald Godzilla, destroying buildings and eardrums with his flaming six-string. His polar opposite Dan Lilker is anchored to the stage, skinny and hirsute, head in a THC cloud, sub-sonic bass strung impossibly low. Charlie Benante sits at his drumkit, akin to a manic alchemist, turning gold leaden, amazing all with the dark arts of his craft. Enter Billy Milano. Larger than life in both persona and build, Milano bellows like a wild rhino, and like a rhino looks both comic and dangerous at once.

The ballads are a definite highlight. The original "Ballad Of Jimi Hendrix" provides the template for the rest of the ballads: steal a riff from a dead artist, play it twice and shout "you're dead!" Kurt Cobain, Tupac Shakur, Biggie Small, Frank Sinatra, INXS and Jim Morrison all get the treatment. Offensive? Of course. Hilarious? You bet!

Another prime moment of comedy was Milano encouraging a stage diver to jump, so he does- up and down on the spot...

The package includes extensive extras. Pick of the bunch is an interview with producer Alex Perialas, he of "What's That Noise?" infamy. There's an interview by Metal Maniacs reporter Liz with Billy, which covers all things S.O.D. Surprisingly, Billy also included a 9/11 tribute. All New Yorkers were affected by the 2001 terrorist attack, and he witnessed the World Trade Center towers collapse. For someone so often derided for being an insensitive, politically incorrect oaf, Milano's tribute is both thoughtful and poignant.

The largest part of the extra features is the raw material from which the main feature is cut. There are five mini-concerts from around the world, captured during the `Bigger That The Devil' tour, but featuring only `Speak English Or Die' songs.

Included is the audio CD of the infamous `Pussywhipped', bootlegged in 1985 during one of S.O.D.'s initial seven shows. The quality is dodgy, as you'd expect, but it's been cleaned up a little, and the vitality and energy of the original performance remains intact.

The 21-year-old Billy Milano is like a kid whose dreams have all come true at once. Here he is, a singer with limited ability, little different to the assembled audience, backed by three of the world's top thrash musicians. He gives his performance absolutely everything, and it's quite possible to picture the veins bulging, the sweat flying, the fists and eyes clenched as he shouts his way through "Milano Mosh", "Milk", "United Forces", or any of the other tracks. His performance as a screaming harridan on "Pre-Menstrual Princess Blues" is hilarious.

The great thing about the ratty production quality is that all three instruments come through loud and clear. There was nothing technical to tackle, so all the emphasis was on speed and power. Charlie Benante kicks “Speak English Or Die” along faster than the studio version, as he does with a number of tracks, and you get the feeling he could play faster still. Dan Lilker’s bass is so distorted it almost sounds like a guitar, a sound as thick as a prehistoric mammoth-swallowing tar pit. Scott Ian thrashes his guitar like a madman, but never misses a note, sharp and vicious throughout.

As in all S.O.D. performances, there are some priceless moments of spontaneity: Charlie was supposed to play the lead on "United Forces", but it was a little difficult from behind the drum kit; Scott broke his guitar on "Kill Yourself", which forced Dan and Charlie to improvise while he fixed it; and Billy's idiotic introductions to pretty much every song. “Diamonds And Rust” appears three times throughout the show, while “The Ballad Of Jimi Hendrix” receives three consecutive airings.

There are a few non-studio album rarities which pop up here, but were also included on the platinum edition reissue of ‘Speak English Or Die’. “Momo” and “Vitality (Milk Part Two)”, originally by Crab Society, both appeared on the 1992 ‘Live At Budokan’ album, while the cover of Inferno’s “Ram It Up Your Cunt” appeared on the Megaforce ‘Deeper Into The Vault’ compilation. Last track “Not” is exclusive to ‘Pussywhipped’, not that it’s much of a hidden treasure.

The best thing about the inclusion of `Pussywhipped' is that it's a small but important slice of metal history, which is far better presented in this format than on some twelfth generation cassette tape, and the band might finally make something from it.

This is an extensive collection of S.O.D. memorabilia, presented raw and unpolished, just how the band was. The volatility of the relationships between the band members may be such that there might never be any more output from S.O.D. ever again, but the snarling, cigar chomping skull Sgt. D will be remembered forever.

METALLICA The Big 4: Live from Sofia, Bulgaria

Movie · 2010 · Thrash Metal
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progshine
I'm reviewing this as a Metallica release cause, well, it seems like one Metallica release with 3 good guests (not trying to bash the other bands, not at all, you'll see on the review).

Anthrax: Great show full of energy, you can see the joy on the band members faces, also, Joey Belladonna vocals are pretty in shape, specially for a 50 years old man. The fact all of them are using the same t-shirt is very nice, shows the unity of the band, no egos involved, one for all, all for one and a good metal show. Rate: 4

Megadeth: Dave gathered great musicians, they're not really new (but sounds as a one man band with guests). Guitars and bass (David Ellefson is one of the great metal bassists ever) are great. But what the f**k is his voice here? What Dave's trying to do with all that falsettos? Is a pain to watch him singing. And he seems worried and nervous the whole show. I never really watched Megadeth live, so I can't say if he's always been like that. Rate: 3

Slayer: The band hit the stage and their hardcore/thrash/metal fast sound comes right to your face. Kerry King accessories (braces and chains) are a little too much on my opinion, but so are the Jeff Hanneman boots xD But their guitars models are very cool. I do like Slayer and they were the one I wanted to see most, but on stage they look like a prog/hardcore/thrash act, cause it looks like the same song over and over. But still, they have great energy, still 'angry' after all this time and Tom Araya's voice still great. Rate: 4

Before Metallica hit the stage a couple of interviews about the Dio death, all of those guys are fans, for sure.

Metallica: Of course they are the 'big brother' here, playing doubled amount of time than the other bands. And you can say whatever you want to say, but few bands can put up a show like these guys do. They made every penny worth. And James Hetfield is singing better than ever, and in a crooner kinda of microphone xD Trujillo is always a fun scene, walking like a 10 pound Gorilla on stage. And I'm sure I'll never like Lars drumming. And every days that passes one idea comes to my mind stronger and stronger, I really would like to see a James solo album, he would do some serious good thing alone, for sure. But, they'll not have a bigger rate for me, cause of one thing, the show IT IS great, but it's the same show over and over the past 2 tours, same songs, same sequence and even James using the same words with the audience. Rate: 4

All in all, it's worth to watch, with a beer on your side will be even better, even if you do not drink (like myself) xD

KREATOR Live Kreation-Revisioned Glory

Movie · 2003 · Thrash Metal
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Kingcrimsonprog
This DVD from the Violent Revolution era captures Kreator at their best as the energetic virtuosos deliver a career spanning set of classic metal, mixing old and new together in a monstrous performance.

The first thing you'll notice is the unusual green filter over the video, and the fact that the show is split between two different venues, with half the songs live from a concert in Spain and half live from a music festival, the change over between shows being filled with short documentary sections with cameos from other Metal bands (usually drunk) and footage of the band getting ready.

If you can get past these facts, you'll find an amazing DVD to enjoy but if you can't stand that sort of thing you'd be better off buying Kreator's 'Live At The Pulse of Kapitulation,' DVD which is one entire concert, without interruptions or strange green filters.

Anyway the performance the band put on is incredible, delivering the songs with feeling and making the music heavy yet very clear. They make the songs from the nineties sound heavier and thrashier and the 80's classics Clearer and more modern sounding creating a even playing field for the material.

The production is pretty decent too, a nice deep kick drum sound, audible bass guitar and sharp chunky guitar sound. Mille is awesome as ever, barking and growling away like its still 1988. The DVD also contains a history section that mixes a very short documentary with all the bands music videos; nothing life changing, but definitely worth the one viewing.

There are also two bonus songs, the classic concert closing duo of 'Flag of Hate,' and 'Tormentor,' Live from With Full Force Festival although the camera work is much better and the visuals are brighter the sound is muddy and unclear so you will probably not bother with them all that often.

The main feature is as good as any metal DVD from the first half of the decade, and pretty much a no-brainer for any Kreator fan; Highlights include the aggressive and technical 'Reconquering The Throne,' and the infectiously catchy 'Violent Revolution,' as well as a storming rendition of the furious 'People of The Lie.' If you're into concert DVDs and into all eras of Kreator this is very much the DVD for you.

KREATOR At the Pulse of Kapitulation: Live in East Berlin, 1990 (DVD/CD)

Movie · 2008 · Thrash Metal
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Kingcrimsonprog
Kreator are a very important band in the Thrash Metal story, one of Germany's biggest ever bands and a bone fide classic act for metal overall.

This DVD is a fantastic reissue of the historic Live In East Berlin Concert, (which comes in Cd and DVD form here)with a documentary and an amusing horror video called Hallucinative Comas.

The Tracklisting is amazing, containing all of their classics such as 'Toxic Trace,' 'Flag of Hate,' 'Tormentor,' and 'Pleasure to Kill.'

The Band's performance is energetic and exciting; singer Mille interacts with the crowd on a regular basis. Ventor gets a Drum solo and also performs lead vocals on an excellent rendition of 'Riot of Violence.'

Kreator blast through songs like 'Some Pain Will Last,' 'Awakening of the Gods,' and 'Under The Guillotine,' furiously, performing the technically challenging and incredibly fast material with ease and flair.

Most important is the sound; for such an old concert the sound is amazing, much better than other DVDs of similar era concerts. The material is brilliantly mixed and available in 5.1 or stereo; with clear drums, chunky 'full,' guitar sounds and totally audible vocals.

The documentary is pretty interesting, describing the difficulty East German fans had even getting access to metal music, magazines or t-shirts; how the concert came to be, and the impact it had.

For a Kreator fan this cannot be recommended highly enough, the wonderful sound and excellent tracklisting make this one of the best Thrash Metal DVDs money can buy. If you want to hear music from the 'Terrible Certainty,' or 'Extreme Aggression,' albums played live then this is the DVD for you.

MEGADETH That One Night - Live in Buenos Aires

Movie · 2007 · Thrash Metal
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Kingcrimsonprog
Megadeth’s That One Night: Live In Buenos Aires is arguably the band’s finest live effort and certainly one of their best DVDs. The band are absolutely on fire in terms of performance and energy, the crowd are going wild for the band and the setlist is superb, what more could anyone ask for in a concert ?

In terms of the actual DVD; the Audio/Visual quality is top notch and the whole performance is captured well, with a good job made of the mixing, camerawork and editing. Everything is utterly professional and well handled, nothing is cheesy or over the top which just allows the music to do the talking.

Surprisingly; apart from frontman Dave Mustaine, even though the band’s line up at the time didn’t feature any musician responsible for the albums from Rust In Peace – Cryptic Writings, or indeed David Ellefson who was on every single Megadeth album until The System has Failed, the band put down a storming performance and seem to be at the top of their game, reveling in their success and fired on by the manic crowd.

(Then) New members Glen Drover on guitar, James MacDonough on Bass and on Shawn Drover on Drums are all great additions to the band, and it isn’t difficult to see why Glen lasted another studio album and Shawn remains with the band to this day.

The concert includes all the classic Megadeth material you would expect like ‘Peace Sells…,’ ‘Holy Wars… The Punishment Due,’ ‘Symphony Of Destruction,’ and ‘In My Darkest Hour,’ as well as some less played numbers such as ‘I’ll Be There,’ and the superb ‘Set The World Afire.’

Additionally, their then new The System Has Failed record is well represented and the songs fit well into the set along side all the fan favourites.

That One Night’ was filmed in 2005 and released in 2007 and is still a brilliant live document and perhaps unsurpassed by later releases. I remember being hugely impressed with it when it was new, and watching it back now my opinion has not changed at all, which is surely a good sign. All Megadeth fans should all consider picking up a copy, this is an utterly fantastic concert and would serve as a fine introduction to the band. I highly recommend it.

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