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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
Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching
Album · 1989 ·
Thrash Metal
UMUR
"Agent Orange" is the 3rd full-length studio album by German thrash metal act Sodom. The album was released through Steamhammer Records in June 1989. It´s the successor to "Persecution Mania" from 1987 and features the same trio lineup who recorded the predecessor.
Although the songwriting and technical level of playing are a bit more sophisticated on "Agent Orange" than was the case on "Persecution Mania (1987)", the two albums are very much what I´d label sibling releases. Sodom show enough progression in both areas to seperate the two releases, but on the other hand the overall music style is very similar on the two albums. It´s raw, aggressive, and sometimes even brutal German thrash metal. Sodom understand the importance of variation though, and while part of the tracks are furiously fast-paced and aggressive thrash metal with lead vocalist/bassist Tom Angelripper delivering raw and raspy vocals on top, most tracks also feature heavy mid-paced parts, and even parts where Angelripper uses other and less aggressive vocal styles. The best example of that is the ultra heavy "Remember the Fallen", but the original CD bonus track "Don't Walk Away", which is a cover by Tank, also shows that Angelripper is capable of performing other types of vocals. He doesn´t stray far from his starting point, but enough to add a little diversity to the vocal part of the album.
Some tracks and riff structures/rhythms may seem a little formulaic, but again Sodom manage to avoid losing the listener´s attention by throwing the occasional curveball. "Magic Dragon" for example starts out really heavy, and then suddenly explodes and continues in a furiously fast-paced and aggressive fashion, only to end in a mid-paced galloping type riff/rhythm. That´s exactly the type of unconventional songwriting structures which make "Agent Orange" a little more interesting than it would have been if every track on the album was just your regular vers/chorus structured composition. "Ausgebombt" deserves a mention too as one of the different sounding tracks of the album, as it´s basically a hardcore punk meets Motörhead type track, with Angelripper´s bass sounding almost like an ode to Lemmy´s distorted bass tone and playing style.
"Agent Orange" features a powerful, raw, and detailed sounding production job, which suits the material perfectly and upon conclusion this is mandatory listening for those interested in the teutonic thrash metal style. This one hits the balance right between unhinged aggression and brutality, and the occasionally more sophisticated songwriting moment. Not completely unlike a contemporary German thrash metal release like "Extreme Aggression (1989)" by Kreator. A 4 star (80%) rating is deserved.
Album · 1992 ·
Thrash Metal
UMUR
"From the Darkest Depths of the Imagination" is the debut full-length studio album by US, California based thrash metal act Silent Scream. The album was released through Tombstone Records in 1992. Silent Scream formed in 1987 and released three demos in the late 80s/early 90s before being signed for the release of "From the Darkest Depths of the Imagination". It would be their sole album release in their original run, as they disbanded in 1994. By 1992 releasing an album in this style, must have felt like climbing a steep hill, and Silent Scream probably felt discouraged by the lack of interest from labels, media, and the buying audience.
Silent Scream play a raw and brutal style of thrash metal, but despite their Slayer influenced name, it´s not their fellow Californians they sound like. As a result of lead vocalist/bassist Mario Atencio´s voice and vocal style I´m sometimes reminded of artists like Rigor Mortis and Sindrome, but artists like Devastation and Demolition Hammmer are valid references too. It´s heavy, it´s raw, and it´s dark and aggressive thrash metal performed by a well playing band. "Matrix of Madness" features a bit of stardust too, as Dark Angel drummer Gene Hoglan guests playing a guitar solo.
Quality wise the material is decent but not exactly top notch thrash metal. For that it lacks more memorable moments and some recognisable killer riffs. The vocals are quite brutal for the genre, although they aren´t death metal growls, but they are delivered in a relatively typical staccato thrash metal style, which isn´t anything out of the ordinary. The sound production is decent, but again not the best sounding thrash metal production out there. The guitars are a little on the thin side, and the bass drum occasionally has a thump sound. So upon conclusion "From the Darkest Depths of the Imagination" is a decent quality thrash metal release, but it does not reach the excellent mark very often and a 3 star (60%) rating is therefore warranted.
Album · 2023 ·
Thrash Metal
Kev Rowland
It is strange to think that even though they did not record their debut album until 1985, Overkill actually predate the Big 4 of Thrash, and still have two of their founders in the band. One always knows what to expect with these guys as they found their style early, and have never moved too far away from that, being so influenced by Motörhead that they used to play many covers in the early days as well as taking their name from the band. Mind you, they have always been somewhat more melodic while Bobby Ellsworth has always had a great set of pipes and shows no sign at all of slowing down even though he is in his sixties now.
As with all bands, their plans were disrupted due to Covid as they originally intended to record the follow-up to ‘The Wings of War’ in 2020 and release it the following year, but that didn’t happen and due to many factors it took until April 2023 for this to finally see the light of the day, but long-time fans will be pleased to know there has been no change in style in the intervening years. Another joy is the production which is crunching and old-fashioned and I was not surprised to discover Colin Richardson had mixed this, as he has always had a great understanding of what to do with heavy music and is still one of the best around.
As for the music? It’s Overkill, so if you have any of their albums then you know what this is like, thrash which is influenced heavily by NWOBHM, loads of melody and riffs all fronted by a powering singer. Is this earth shattering? No, not really. Is it as good as 2017’s ‘The Grinding Wheel’? Probably not but is still a heck of a lot of fun all the same and long may they continue.
Album · 2023 ·
Thrash Metal
UMUR
"The Poison Chalice" is the eight full-length studio album by Dutch thrash metal act Legion of the Damned. The album was released through Napalm Records in June 2023. It´s the successor to "Slaves Of The Shadow Realm" from 2019 and there´s been one lineup change since the predecessor as Legion of the Damned have opted to hire Fabian Verweij as a second guitarist, thereby enabling Maurice Swinkels to solely concentrate on performing lead vocals. Although Legion of the Damned was formed in 2005, they operated under the Occult monicker from 1992-2005, releasing several albums under that name, so it´s an understatement to say that Legion of the Damned/Occult are among the longest running Dutch thrash metal acts.
Along with great experience comes high level musicianship, effective songwriting, and a great understanding of production values, and it´s no surprise that "The Poison Chalice" features all those elements. Stylistically the material on "The Poison Chalice" is through and through the sound of Legion of the Damned...fast, sharp, and brutal thrash metal riffs and rhythms, blistering solo work, and Swinkels rabid dog snarling vocals in front. They´ve developed a slight blackened edge over the years, and the guitar solos have also become a little more melodic, but the core sound is intact. This is pretty old school and you won´t find much here you wouldn´t expect to hear on a mid- to late 80s aggressive thrash metal release. It´s raw, aggressive, and packs a punch. While it´s certainly not primitive music, it´s still relatively easy to follow and snarl along to.
So it´s safe to say Legion of the Damned didn´t spend the years since "Slaves Of The Shadow Realm" inventing a new style or developing their core sound much. As mentioned above the lead guitar parts are slightly more melodic than usual, but otherwise you get exactly what you expect from "The Poison Chalice". Good quality thrash metal in the aggressive end of the spectrum. It features the right amount of furious intensity and powerful playing to force you to bring out your bullet belts and studded wristbands, and head for the mosh pit. A 3.5 star (70%) rating is deserved.
Movie · 2004 ·
Thrash Metal
martindavey87
‘Some Kind of Monster’ is an interesting look at the personal problems that arise amongst band members after having worked together throughout careers that span decades. The biggest rock band in the world is on the verge of breaking up, with one member leaving, one member in rehab and one member being the most hated man in music. It’s compelling viewing, that’s for sure.
However, it’s been often stated that this will appeal to Metallica fans and non-fans alike, and I do consider that a bit of an overstatement. I’m a huge, huge die-hard fan of the band, but at two hours and 10 minutes in duration, and a couple of hours of extra material, even I find this quite a tedious viewing at times.
Essentially, it boils down to the egos of two men, James and Lars, and goes on to become nothing more than “Temper Tantrum: The Movie”. Still, it’s always fun and interesting to see what musicians I admire get up to when they’re not on stage. The process of recording their 2003 dud of album ‘St. Anger’, what they do in their spare time, the auditions for a new bass player and the endless promotional events they partake in.
While this isn’t essential viewing to the average movie-goer, fans of the band will enjoy this stripped and bare movie that shows that even rich and famous rock stars have egos and emotions, and the tolls that that stardom takes on them.
Movie · 1998 ·
Thrash Metal
martindavey87
It feels like a lifetime ago that I bought this DVD! Back in 2002, at the impressionable age of 15, this was such an awe-inspiring show to watch. Metallica were (and still are) so much larger than life, and everything about this home video release was amazing.
The main show, despite being at the peak of Metallica’s mid-90’s alternative rock era, shows a band who could rock out with the best of them, and while the set list may not hold up amazingly well by today’s standards, it’s still brimming with heavy metal and hard rock anthems.
There’s an abundance of extras that show the behind-the-scenes process of the show and it’s titular stunts, and the pre-show footage is a blast to watch, so much so, that lurking somewhere out there is a home video my friends and I (all aged 15 and in our first band) made of us embarrassingly recreating many of the scenes.
While Metallica has certainly released better home videos and DVD’s, ‘Cunning Stunts’, with its top notch sound and picture, and brimming with fantastic visuals, still holds up just as well today as it did 20 years ago.