Thrash Metal

MetalMusicArchives.com — the ultimate metal music online community, from the creators of progarchives.com

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
4.55 | 252 ratings
Buy this album from MMA partners
MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.51 | 216 ratings
Buy this album from MMA partners
METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.45 | 205 ratings
Buy this album from MMA partners
ANNIHILATOR Never, Neverland Album Cover Never, Neverland
ANNIHILATOR
4.43 | 73 ratings
Buy this album from MMA partners
SEPULTURA Beneath the Remains Album Cover Beneath the Remains
SEPULTURA
4.39 | 85 ratings
Buy this album from MMA partners
ANNIHILATOR Alice in Hell Album Cover Alice in Hell
ANNIHILATOR
4.39 | 61 ratings
Buy this album from MMA partners
HEATHEN The Evolution of Chaos Album Cover The Evolution of Chaos
HEATHEN
4.76 | 8 ratings
Buy this album from MMA partners
FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
FORBIDDEN
4.49 | 21 ratings
Buy this album from MMA partners
DARK ANGEL Darkness Descends Album Cover Darkness Descends
DARK ANGEL
4.46 | 23 ratings
Buy this album from MMA partners
EXODUS Fabulous Disaster Album Cover Fabulous Disaster
EXODUS
4.38 | 46 ratings
Buy this album from MMA partners
METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.32 | 197 ratings
Buy this album from MMA partners
FLOTSAM AND JETSAM Doomsday for the Deceiver Album Cover Doomsday for the Deceiver
FLOTSAM AND JETSAM
4.38 | 37 ratings
Buy this album from MMA partners
This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

thrash metal online videos

thrash metal New Releases

.. Album Cover
Call Of The Wild
EP
DESTRÖYER 666
Buy this album from MMA partners
.. Album Cover
Give Me Leather
Single
GAMA BOMB
Buy this album from MMA partners
.. Album Cover
666teen
Single
GAMA BOMB
Buy this album from MMA partners
.. Album Cover
Speed Between The Lines
Album
GAMA BOMB
Buy this album from MMA partners
.. Album Cover
Panoptic Horror
Album
SEPULCHER
Buy this album from MMA partners
.. Album Cover
Abyssal Horror
Single
SEPULCHER
Buy this album from MMA partners
.. Album Cover
Ruins
Album
PANZER SQUAD
Buy this album from MMA partners
.. Album Cover
The End of Chaos
Album
FLOTSAM AND JETSAM
Buy this album from MMA partners
.. Album Cover
Unleashed in the East.... Midlands
Movie
LAWNMOWER DETH
Buy this album from MMA partners
.. Album Cover
Degrees of Manipulation
Album
ALPHAKILL
Buy this album from MMA partners
.. Album Cover
Beyond Celestial Echoes
Album
SACRAL RAGE
Buy this album from MMA partners
.. Album Cover
Unleashed Bastards
Album
NECRONOMICON (BW)
Buy this album from MMA partners
.. Album Cover
Propaganda
Album
DESTRACTIVE
Buy this album from MMA partners
.. Album Cover
All Men Shall Fall
Album
KILL RITUAL
Buy this album from MMA partners
.. Album Cover
Chain Reaction
Album
PRIPJAT
Buy this album from MMA partners
.. Album Cover
The Face of Fear
Album
ARTILLERY
Buy this album from MMA partners
.. Album Cover
Psalter of the Royal Dragon Court
Album
MONGREL'S CROSS
Buy this album from MMA partners
.. Album Cover
Power Unsurpassed
Single
WARBRINGER
Buy this album from MMA partners
.. Album Cover
Absurdity
Album
UNITED
Buy this album from MMA partners
.. Album Cover
The Outer Ones
Album
REVOCATION
Buy this album from MMA partners
.. Album Cover
Satan's Sodomy of Death (Demos)
Boxset / Compilation
AGRESSOR
Buy this album from MMA partners
.. Album Cover
Rebirth
Boxset / Compilation
AGRESSOR
Buy this album from MMA partners
.. Album Cover
Thousand Years Of Terror
Album
SKYGLOW
Buy this album from MMA partners
.. Album Cover
The Void
Album
SONS OF THE BEAST
Buy this album from MMA partners
.. Album Cover
Aura Noire
Album
AURA NOIR
Buy this album from MMA partners
.. Album Cover
Grave Condition
Album
BLOOD TSUNAMI
Buy this album from MMA partners
.. Album Cover
Downfall of Mankind
Album
NERVOSA
Buy this album from MMA partners
.. Album Cover
Live in Overhausen
Live album
OVERKILL
Buy this album from MMA partners
.. Album Cover

Album
ALIEN WEAPONRY
Buy this album from MMA partners
.. Album Cover
Cabaret de la Guillotine
Album
ANGELUS APATRIDA
Buy this album from MMA partners
.. Album Cover
Seven Inches Of Hell (Part II)
Boxset / Compilation
WHIPSTRIKER
Buy this album from MMA partners
.. Album Cover
Mind
Album
VORBID
Buy this album from MMA partners
.. Album Cover
Get Your Fight On!
EP
SUICIDAL TENDENCIES
Buy this album from MMA partners
.. Album Cover
Mileage
Single
VARGA
Buy this album from MMA partners
.. Album Cover
Death is King
Album
BLACK CYCLONE
Buy this album from MMA partners
.. Album Cover
The Mastery
Album
ACCU§ER
Buy this album from MMA partners
.. Album Cover
Kings Among Scotland
Movie
ANTHRAX
Buy this album from MMA partners
.. Album Cover
Smell the Rot
Live album
NUNSLAUGHTER
Buy this album from MMA partners
.. Album Cover
Hymns for the Drunk
Boxset / Compilation
TANKARD
Buy this album from MMA partners

thrash metal Music Reviews

ALPHAKILL Degrees of Manipulation

Album · 2018 · Technical Thrash Metal
Cover art Buy this album from MMA partners
UMUR
"Degrees of Manipulation" is the 2nd full-length studio album by Canadian thrash metal act Alphakill. The album was independently released in October 2018. It´s the successor to "Unmitigated Disaster" from 2012. Alphakill were formed in 2010 and originally were a four-piece consisting of Jesse Skoleski (Bass, Backing Vocals), Derrick Kroll (Drums, Vocals), Jon Warren (Guitars, Backing Vocals), and Justin Stear (Vocals, Guitars). Skoleski left Alphakill after recording "Unmitigated Disaster (2012)", and was replaced by Jon Anderson. Anderson never got the chance to record with the band though as he left again in 2014. The remaining members of Alphakill didn´t find a new bassist before recording "Degrees of Manipulation" and the album is therefore recorded as a three-piece with Warren and Stear handling the bass. After the recording sessions were finished a new bassist was added to the band in Jordan Gosselin.

6 years between your debut album and your sophomore album is a long time, even in this day and age, where artists don´t necessarily release albums each year anymore, but Alphakill have managed to continue and evolve the thrash metal style they initiated on "Unmitigated Disaster (2012)" rather seamlessly. It´s raw and powerful thrash metal, but it´s not devoid of melodic moments, and lead vocalist/guitarist Justin Stear is a skilled singer who can sing both raw and more melodic when that is called for (not completely unlike the singing style of Russ Anderson of Forbidden, but not quite as unique). The material on the 10 track, 52:54 minutes long album are generally vers/chorus structured, but Alphakill successfully incorporate bridges, loads of shredding guitar solos and harmonies, and other little details to keep the album entertaining and varied throughout (the use of riot gang backing vocals is for example a nice touch).

The quality of the songwriting is pretty consistent although some tracks are slightly more memorable than others. Nothing is sub par or anything like that, but there are some tracks I remember better than others after finishing the album. Highlights to my ears are tracks like the opening "The Straw Man" and "Bow to No Man", but some of the longer tracks like "Morality Blurred" and "Monumental Hypocrisy" feature some of the most technically interesting moments on the album. While I´d describe the core musical style of the album as classic US/Canadian styled thrash metal, there are actually some pretty technical playing on some tracks.

"Degrees of Manipulation" features a raw and powerful sounding production, which suits the material well. Taking into consideration that this is an independent release, I think Alphakill have managed to produce a very professional sounding affair. So is it a step up from the already high quality of the debut album? I´d say they are pretty equal in quality. In some areas Alphakill have evolved and developed their style (the vocals are a bit more diverse and the occasional technical edge is also more prominent here than on the debut), and in some areas I think there are signs of stagnation (or at least some tracks sound like the band are satisfied with continuing the style they initiated on the debut). Upon conclusion "Degrees of Manipulation" is a good quality sophomore album by Alphakill, and they can be proud of their work, which should appeal to fans of old school US/Canadian thrash metal with a melodic sensibility and the occasional technical edge. A 3.5 star (70%) rating is deserved.

ALPHAKILL Unmitigated Disaster

Album · 2012 · Technical Thrash Metal
Cover art Buy this album from MMA partners
UMUR
"Unmitigated Disaster" is the debut full-length studio album by Canadian thrash metal act Alphakill. The album was independently released in June 2012. Alphakill were formed in 2010 and are on this release a four-piece consisting of Jesse Skoleski (Bass, Backing Vocals), Derrick Kroll (Drums, Vocals), Jon Warren (Guitars, Backing Vocals), and Justin Stear (Vocals, Guitars).

Right off the bat the music style is established by the opening track "Thrash Eternal". Powerful riff heavy thrash metal, with a raw singing vocalist in front. Justin Stear is not just a raw shouting thrash metal vocalist though, as he can actually sing too (and the riot gang backing vocals are also quite charming). Not that Alphakill ever fall into the power ballad trap, or try to incorporate clean singing in an attempt to reach a mainstream audience, but there is a melodic sensibility to his singing, which makes his vocal performance a bit more varied than your average raw sounding thrash metal singer.

The band are well playing and perform their parts with great skill and conviction. The material on the 9 track, 51:03 minutes long album are well written, catchy, and powerful, and while most tracks are relatively formulaic vers/chorus structured (and also lyrically without surprises), Alphakill understand the importance of writing a memorable bridge, play shredding solos (and there´s even the rare nod towards neo-classical shredding), deliver guitar harmonies, and incorporate a tempo change, when that is called for. So there is a good compositional balance and variation throughout the album.

"Unmitigated Disaster" also features a raw and powerful sounding production, which suits the material well, so all in all it´s a good quality thrash metal album. But when all the positives are mentioned I do have to say that Alphakill aren´t the most original sounding thrash metal band out there. It´s not that they sound like any other particular act, but they don´t really play anything you haven´t heard before either. Fortunately what they deliver, are delivered with such great passion and skill, that the lack of an original sound becomes a minor issue, and fans of the genre shouldn´t ignore the album because of that. A 3.5 star (70%) rating is deserved.

ALPHAKILL Degrees of Manipulation

Album · 2018 · Technical Thrash Metal
Cover art Buy this album from MMA partners
Nightfly
Whilst I’ve heard no shortage of great death metal in 2018 I can’t really say the same about thrash, though I have to say I focus more on death metal these days, so I may have missed some gems. The latest Artillery album “The Face Of Fear” which certainly impressed me and Revocation’s “The Outer Ones” are my top picks of the year, the latter in particular blowing me away as Revocation always do with their technical death/thrash. Perhaps they don’t count though as they’re as much a death metal band as a thrash one. Another band on the more technical side of things is Canadians Alphakill who despite releasing their debut album “Unmitigated Disaster” in 2012 have passed me by until now. I still haven’t heard that debut but I’m pleased to have caught up with them on their second recently released album “Degrees Of Mainipulation”.

These guys can really play and while they seem to be have been influenced by old school thrash like Forbidden and Exodus the sharp production brings their more technical riffing bang up to date. Brilliant musicianship alone will not however make a great album and thankfully these guys have the songs and riffs to back up their musical chops. Yes “Degrees Of Manipulation” is jam packed with killer riffs and incendiary soloing. I’m also impressed with vocalist Justin Stear’s more traditional and cleaner approach being more in the Charlie Benante or Forbidden’s Russ Anderson vein though nearer the latter doesn’t particularly sound like either. Most of the songs are pretty fast, as you’d expect in this genre, though constant twists and turns keep things interesting with drummer Derrick Kroll tight and dextrous playing anchoring it all down. Guitar and bass duties is shared between vocalist Justin Stear and Jon Warren who can shred with the best of them when required but they never lose sight of the importance of the riffs. I could point to pretty much any song as evidence but Morality Blurred being a favourite of mine is as good an example as any of how good this band is.

As I already said the production is sharp but a minor criticism is that it could benefit from more bottom end but for an independent release they’ve done a great job. Whilst these guys remain largely unknown at the moment “Degrees Of Maipulation” has the musicianship and songs to reach a far wider audience. Definitely a band to keep an eye on and I look forward to album number three.

INVOCATOR Weave the Apocalypse

Album · 1993 · Technical Thrash Metal
Cover art Buy this album from MMA partners
UMUR
"Weave the Apocalypse" is the 2nd full-length studio album by Danish thrash metal act Invocator. The album was released through Black Mark Productions in 1993. Invocator were quite the prolific act on the Danish metal scene in the late 80s/early- to mid- 90s, and they had released a couple of well received demo tapes and their debut full-length studio album "Excursion Demise (1991)" before the release of "Weave the Apocalypse".

Compared to the furiously fast-paced and aggressive death/thrash played on "Excursion Demise (1991)", quite a few things have changed on "Weave the Apocalypse". While both albums can be labelled technical thrash metal, they sound very different and if you didn´t know it, it wouldn´t necessarily be obvious that it was the same band playing. There have been two lineup changes since the debut album as guitarist Jacob Schultz has been replaced by Perle Hansen and bassist Jesper M. Jensen has been replaced by Per Jakobsen. The two remaining members of the lineup from the debut are drummer Per M. Jensen (later of The Haunted), and guitarist/lead vocalist Jacob Hansen (who would later become quite a prolific producer).

While the two new guys bring much to the music (both get to shine several times during the album´s playing time), it´s in the basic songwriting department that the major changes have taken place. Instead of the fast-paced aggressive death/thrash of the debut the listener is treated to a predominantly mid-paced, heavy, rather sophisticated, and technical type of thrash metal. It´s quite original sounding and the obvious Dark Angel worship of the debut is now completely gone. The vocals by Jacob Hansen are still relatively raw although they are far removed from the caustic snarling vocals of the debut.

Another thing that seperates "Weave the Apocalypse" from "Excursion Demise (1991)" is the much shorter song lengths. While the tracks are generally pretty sophisticated and on occasion relatively technical/progressive, they are more conscise and don´t wander off into long blistering solos or adventurous structures like the case often was on the debut. The 10 track album is with it´s 34:25 minutes long playing time relatively short, but that format works well here.

The album features a powerful, clear, and well sounding production, so upon conclusion "Weave the Apocalypse" is a high quality sophomore album by Invocator. It´s up for discussion if it´s a better release than "Excursion Demise (1991)", but there´s no arguing that Invocator have developed their style greatly since the debut and that always takes great courage and an adventurous attitude (especially this early on in a career), which are both positive characteristics in my book. If I have to mention something that might be an issue to some, it would be the semi-raw vocal delivery by Jacob Hansen which I suspect won´t appeal to all listeners. The instrumental part of the music is quite brilliant though. A 4 star (80%) rating is deserved.

ALIEN WEAPONRY

Album · 2018 · Thrash Metal
Cover art Buy this album from MMA partners
Vim Fuego
You know how thrash metal died in the early 90s, and it’s only produced rehashes of it’s glory days over and over again ever since? Yeah? Well, you don’t know shit.

In the past few years there have been a number of fresh, new, young bands revitalising the genre. Warbringer, Nervosa, Power Trip, and Vektor have done more than reanimate thrash’s mouldy corpse. Bands like these have taken the vital building blocks and constructed something new, keeping the foundations in the 80s, but the superstructure is something fresh and new. There is another name to add to that list of bands: Alien Weaponry.

Three lads of Maori descent from the Far North of New Zealand have been making a huge racket for a good few years now, and still aren’t out of their teens. For those unfamiliar with Alien Weaponry, the band is made up of brothers Lewis and Henry De Jong and their good mate Ethan Trembath, and formed in 2010. Henry was 10 and Lewis was 8. Ethan (the same age as Lewis) joined a little later, knowing Lewis from Primary school and then clown school. A former ukulele player, he got the job as bass player because he was the only one who’s arms were long enough to reach the end of a bass guitar. Yup. This is truly a 21st century band.

The martial spirit of Maori culture has been crying out for a full metal release for decades. Every Man For Himself came close with their 2010 EP “Te Pae Mahutonga”, but it was more a hardcore release steeped in self-help and wellbeing philosophy from a Maori spiritual perspective, and the lyrics were in English. “Tu” on the other hand is a bilingual tour de force.

So what’s the meaning behind “Tu”? Well, that’s open to interpretation. Maori is an expressive rather than strictly descriptive language, and meaning is often dependent on context. The album title is an example. The word tu can mean to stand, to stop, to be established, to be wounded, to remain, sort, or to take place. Which meaning is appropriate here? It’s up to the listener to decide. [Note: any translations from here on are my own interpretations and might be light years distant from what the band meant. I’m not a native Maori speaker, so any mistakes and limitations with the language are all mine. I also don’t have macrons on my keyboard, for the written language.]

Introductory first track “Whaikorero” (formal speech) opens with the eerie moan of the purerehua (bull roarer) and the otherworldly voice of the koauau (flute) accompanying the verse of the whaikorero. It is a short story about a nineteenth century encounter between the band’s ancestors and invading/colonising British forces. It was recorded in the Waipu caves, near the boys’ home, further enhancing the atmosphere. It is one of several tracks recorded by Tom Larkin, New Zealand metal royalty, better known for his role as drummer for Shihad.

And then into “Ru Ana Te Whenua” (Shaking my homeland). It starts with a chanted challenge, and then rips into an introductory riff, pounding drums, and suddenly it’s like Pantera reborn and singing in a different language. The guitars are fucking massive! The vocal melody and chanted breakdown are familiar to anyone who has experienced the Maori culture, with the call and response style chants, only it’s never been done before with chunky metal riffs and double kick bass drums.

“Holding My Breath” is written in English. It shows the maturity of songwriting of these young men. It could be considered a teen angst song, but that would be selling it well short. These lyrics apply to anyone suffering anxiety or depression at any age. This trio has already won song writing awards, competing against much older and more mature songwriters.

“Raupatu” (Conquest) goes fully political. To simplify a very complicated story, the Treaty of Waitangi is New Zealand’s founding constitutional document, a treaty signed between the British crown and Maori in 1840. There were problems right from the outset, as the treaty dealt with Maori as a united entity, when really it was a fractured, tribal society. Some tribes signed on behalf of others without their knowledge, giving away rights which weren’t theirs to give. What’s worse, there were problems in translation. The Maori word “rangatiratanga” and the English word “sovereignty” mean quite different things, but were used to mean the same thing in the treaty. The British settlers merrily confiscated huge tracts of prime land all over the country, while Maori thought of it as a loan, or thought they retained ownership. This led to armed conflict, and a number of wars between the Crown and Maori, including the massacre of unarmed civilians at Parihaka in the Taranaki region. The wars led to more confiscations by the crown, a shameless land-grab disguised as punishment. Much of the land confiscated came from tribes not even involved in the fighting. Right… Get all this straight in your head, and a lot of the songs here start to make more sense.

“Kai Tangata” (Human Food) sounds more disturbing than it really is. It’s not a Cannibal Corpse-style slasher cannibal story. It describes a pre-European war party, as they prepare for battle. Their goal is to take the enemy’s heads or liberty. Maori warriors defeated in battle expected their foes to eat their bodies, to incorporate their spirit, or to become passive slaves, who could also be killed and eaten at any time. It was a brutal, uncompromising custom, while the song veers between the brutal and the melodic.

And really, brutal but melodic is the prevailing theme for this entire album. “Rage – It Takes Over Again” could be about teen angst, online bullying, or just good old-fashioned rage-fuelled violence. “The Things That You Know” looks on the surface also like it could be another angst anthem, but a slightly deeper examination points at how some people have problems leaving behind preconceptions.

The whispers of “Whispers” are governmental promises made and broken. There is a sample of former conservative politician and reserve bank governor Don Brash (think Donald Trump minus the rampant ego and dead cat hairpiece), parroting anachronistic, patronisingly racist attitudes to Maori and their culture. Those attitudes almost brought Brash to political power in 2005. Almost… The lyrics pull no punches, in both English and Maori, and point out how the government of New Zealand does not look out for Maori interests, despite the Treaty of Waitangi.

The lyrical and musical maturity on show throughout this album belies the tender age of these three young men. For a debut album, “Tu” is highly impressive. It doesn’t go off the rails by the band trying too hard to impress. While there are a couple of missteps, these are minor issues. Thrash metal is far from dead, and has a bright future. The future has arrived already.

thrash metal movie reviews

S.O.D. 20 Years of Dysfunction

Movie · 2005 · Crossover Thrash
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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.

Artists with Thrash Metal release(s)

thrash metal Index

Member Zone

Username:
Password:
Stay signed in

Metal Subgenres

Artists Alpha-index

MMA TOP 5 Metal ALBUMS

Rating by members, ranked by custom algorithm
Albums with 30 ratings and more
Master of Puppets Thrash Metal
METALLICA
Buy this album from our partners
Moving Pictures Hard Rock
RUSH
Buy this album from our partners
Powerslave NWoBHM
IRON MAIDEN
Buy this album from our partners
Rust in Peace Thrash Metal
MEGADETH
Buy this album from our partners
Keeper of the Seven Keys Part II Power Metal
HELLOWEEN
Buy this album from our partners

New Metal Artists

New Metal Releases

Cheap Thriller Stoner Metal
PART CHIMP
Buy this album from MMA partners
Craft Of Rotten Flesh Deathcore
MEPHOSTOPHILIS
Buy this album from MMA partners
Sweet Lies Honest Hate Metalcore
CONDEMN THE WORLD
Buy this album from MMA partners
The Things We Carry On Metalcore
OAKHEART
Buy this album from MMA partners
Cold State Metalcore
OAKHEART
Buy this album from MMA partners
More new releases

New Metal Online Videos

FARMER BOYS - Revolt (OFFICIAL VIDEO)
FARMER BOYS
Tupan· 20 hours ago
More videos

New MMA Metal Forum Topics

More in the forums

New Site interactions

More...

Latest Metal News

members-submitted

More in the forums

Social Media

Follow us

Buy Metal Music Online