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:
  • Vim Fuego (leader)
  • Time Signature
  • Necrotica
  • Unitron

thrash metal top albums

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METALLICA Master of Puppets Album Cover Master of Puppets
METALLICA
4.60 | 243 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
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4.49 | 209 ratings
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SLAYER Reign in Blood Album Cover Reign in Blood
SLAYER
4.48 | 164 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.45 | 197 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
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ARTILLERY By Inheritance Album Cover By Inheritance
ARTILLERY
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METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.33 | 186 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
FORBIDDEN
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DESTRUCTION Eternal Devastation Album Cover Eternal Devastation
DESTRUCTION
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EXHORDER Slaughter in the Vatican Album Cover Slaughter in the Vatican
EXHORDER
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thrash metal Music Reviews

FLOTSAM AND JETSAM No Place for Disgrace

Album · 1988 · Thrash Metal
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Kingcrimsonprog
No Place For Disgrace is the sophomore full-length album by the cult US Thrash Metal band Flotsam & Jetsam. It was released in 1988 as their old bandmate Jason Newstead was working on Metallica’s …And Justice For All album.

The Phoenix, Arizona band’s musical style here is mostly more or less a direct continuation of that found on their fondly remembered debut album Doomsday For The Deceiver. Its quickfire but not Slayer levels of fast. Its not succinct but never progressive. Its got melody but isn’t overly sugary or radio-pleasant. It reminds me a little bit of Death Angel’s The Ultraviolence at times.

Highlights include the Title Track, especially when it breaks down to a soft section where singer Eric AK describes a man killing himself via hari kari (hence the album’s artwork) as well as the brief instrumental ‘The Jones’ and ‘I Live, You Die’ which is perhaps the fastest song on the album and has some of the finest guitar work.

On an interesting note, there is a rather odd decision here to cover Elton John’s ‘Saturday Nights Alright For Fighting’ which does hold some gimmick value but doesn’t really match the rest of the material.

Compared to some of the more famous bands like Exodus or Anthrax or Overkill or Megadeth, Flotsam & Jetsam are maybe lacking something in character, however they are far from the most generic or forgettable band to play Thrash. A possible exception to this would be the very fun, PMRC-baiting track ‘Hard On You’ which is arguably the catchiest track they’ve made to this point. For me this track, as well as the improved production job, arguably tip this album over their debut, which admittedly was more charming than this at least.

If you like Thrash and want to try something less obvious, this is definitely worth checking out. If you are interested in the band, this is definitely the first album of theirs I’d recommend for you check out (unless you’re just in it for the Newstead connection in which case although some songs were still co-written by him here, the debut he actually plays on is the more obvious way to go).

ANTHRAX Live: The Island Years

Live album · 1994 · Thrash Metal
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Kingcrimsonprog
Live: The Island Years is a live album by the American Thrash Metal legends Anthrax, it was released in 1994 as a sort of finale or closure of the band’s successful and critically acclaimed Joey Belladonna era, as the band had recently started a new era with John Bush.

It is not one continuous concert all the way through but rather it is two sections; firstly the soundtrack to their Live Noize video, recorded in concert in California in 1991 and then there is a second section which was recorded for radio in New York, live in the studio, added on at the end. You can think of it as two shows cobbled together or you can think of it as them adding some extra value for money onto Live Noize… its up to you.

It is a bit jarring the change between one show and the next, and again the change in sound between the two recordings and productions and mixes, but this is still less jarring than one of those live albums where there’s a different show from a different city as every track, and you do get two well flowing shows in and of themselves.

In terms of track listing, there’s two tracks from their ‘Killer Bs album (A Kiss cover in ‘Parasite’ and the smash hit Public Enemy cover/collaboration ‘Bring The Noise’ fleshed out by Flava Flav who guests here singing part of his own ‘Too Much Posse.’). There’s also one Neil Turban era tune in the form of ‘Metal Thrashing Mad’. The rest of the material is drawn from their four Joey Belladonna era albums. There’s thirteen tracks in total, although annoyingly Spreading The Disease era gem ‘A.I.R.’ is for some reason randomly split across two tracks in an awkward way, which also makes the track order on the back wrong as it doesn’t take this split into account. There’s still thirteen songs however because ‘Too Much Posse’ is not on its own track by itself.

I guess you could complain that four of the tracks are covers (if you are counting ‘Too Much Posse’) or that maybe some of your favourite songs aren’t included but then that’s offset by having a lot of the big singles and concert favourites from Among The Living and Persistence Of Time such as ‘Caught In A Mosh,’ ‘Indians,’ ‘I Am The Law,’ ‘In My World’ and ‘Keep It In The Family’ and a few surprises too. (Hey, who’d have expected a deep cut off of State Of Euphoria? But the album closes with ‘Now Its Dark’).

That’s some great live Thrash Metal from such a classic band during their golden period. In terms of performance, things are accordingly entertaining. Its got a great live feel and isn’t slick or heavily overdubbed and squeaky clean. It feels fun and raw and realistically live (without sounding rough or ramshackle either by the way). The guitar solos have a real energy and aren’t exactly the same as on the albums, Joey singing Neil’s song is interesting, the band having fun geeking out to Kiss is interesting, its all got a sort of atmosphere of fun. I guess they were the band who were noted for always laughing and for example dressing up in beach shorts instead of making themselves grim and serious.

Yes it came out a bit too late and might’ve appeared either like a cash in or like a snub to the Bush era to some fans. Yes, the packaging may seem a bit rushed and cheap. Yes it is two shows mashed together and one of those is in a studio not a proper concert. Yes, 30% of the setlist wasn’t written by Anthrax. However if you like Anthrax and want to hear the band live back in their heyday its still an absolutely worthwhile addition to your collection. There’s some great tunes, some fiery performances, a fairly decent amount of content and a more than adequate live sound job. I feel it does a good job of sitting as a nice full-stop on the Belladonna era.

There are better Anthrax live albums available nowadays; Music Of Mass Destruction (with Bush circa We Have Come For You All) and Alive 2 (from the 2005 Belladonna reunion tour) are particularly recommended. If you only have a limited interest or amount of money then this wouldn’t be the main one I’d recommend, but if you do have an predisposition to check this out I’d definitely state ‘don’t be put off, give it a go!’

ATROPHY Socialized Hate

Album · 1988 · Thrash Metal
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Kingcrimsonprog
This album won't be for everyone, but if you like the following sentence, I'd recommend giving it a square go: 20% Coma Of Souls, 20% Forbidden Evil, 10% Handle With Care, 50% The Legacy. ...Interested? If so, read on. 

Atrophy were one of many late '80s bands pumping out Thrash Metal. They were sometimes associated with Sacred Reich and Flotsam & Jetsam due to geography, although they had more of a Bay Area sound (and specifically, Testament worship) with some Teutonic Thrash tinges and the tiniest wee bit of a crossover Thrash influence.

Now, if you know your Thrash, you'll know that there's several tiers of both quality and when-you-should-check-em-out that most fans can broadly agree on. Individual preference and media exposure in your territory may make you disagree on some placements but the overall theme is usually agreed upon. There's of course the very Top tier of Thrash, the stuff you usually get into first, is probably objectively the best and the stuff that makes you fall in love with the subgenre. Stuff like Metallica, Megadeth, Slayer, Anthrax, Overkill, Exodus, Testament and Kreator. The definition of Thrash for many.

There's then the second-highest tier, the stuff that you bought purposefully because it was Thrash and that is still fairly successful and famous but not just as much; stuff like Annihilator, Forbidden, Heathen, Vio-lence, Death Angel, Dark Angel, Sodom, Destruction, Early Sepultura, Sacred Reich, Nuclear Assault. The real guts of Thrash fandom for many.

There's a third that only real Thrash fans love, you'll find it in list of best Thrash albums ever, but not in the general lists as much. When major outlets cover Thrash this stuff is ignored but when people in the know really nerd out on Thrash this stuff comes up. Stuff like Whiplash, Razor, Onslaught, Paradox, Devastation, Rigor Mortis, Morbid Saint, Toxik, Xentrix and Hirax. And; of course, Atrophy. Then there's a tier or three below that of diminishing fame (and some say diminishing quality, others vehemently deny that however) but you get my jist by now.

I bring this up really to illustrate where Atrophy fit in and in so doing also how likely you are to enjoy them. If you like Thrash enough to get into multiple bands from the third tier then this is worth serious investigation. If you only want the absolute best or most famous stuff this may seem a bit too derivative for you. If you don't like Thrash at all then never worry your pretty head about Atrophy because I don't think they'll be your cup of tea anyway. How could they be really? They are basically one of the purest distillations of the Thrash formula ever to form a band.

Atrophy don't play the kind of Thrash that's closer to NWOBHM in sound, nor the kind that is a direct close precursor to Death or Black Metal, nor even the kind that's Punky and ramshackle. They aren't a progressive variation on Thrash. They don't have any happy melodic Power Metal tendencies. Its pretty straight down the line Thrash with no thrills and little diversity (but done perfectly!).

What it lacks in a unique sales pitch (hey check out the band with the funk influence or the orchestra etc.) it makes up in consistency, quality and ferocity. All the compliments you can level at Testament's debut album The Legacy all work for Atrophy's Socialized Hate. The razor-sharp riffs, the creative and powerful guitar leads, the intros, the barked hard low vocals, the relentless drumming. Atrophy also specialize in really good lyrics (well, except the silly one off joke song Beer Pong, but you can let that slide as the rest is so good).

Songs like the Title Track, the opener 'Chemical Dependency' and the fabulous three-song run of 'Product Of The Past' 'Rest In Pieces' and 'Urban Decay' are just really strong, really entertaining and really pure Thrash Metal, and if that's your bag then Socialized Hate is worth adding to your collection. Sure, it might not be your first Metal album or your first Thrash album (or even your fifteenth) but if you love this stuff and want more, but more that is still great and not just more for the sake of it, then... y'know... Socialized Hate, innit.   

FORBIDDEN Forbidden Evil

Album · 1988 · Thrash Metal
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UMUR
"Forbidden Evil" is the debut full-length studio album by US, San Francisco, California based thrash metal act Forbidden. The album was released through Combat Records in September 1988. The band was formed under the Forbidden Evil monicker in 1985 as was an active part of the Bay Area thrash metal scene of the 80s (featuring in those days Rob Flynn from Machine Head on guitars), releasing several demos and playing quite a few live shows, before changing their name to Forbidden in 1987 shortly before recording "Forbidden Evil". While Forbidden is often mentioned as an influential and important part of the 80s Bay Area thrash metal scene, they were one of the acts from those days, along with contemporaries like Exodus and Heathen, which never broke through to a mainstream metal audience, and probably as a consequence folded in 1997.

The music on the album is technically well played US thrash metal. Forbidden sets themselves a bit apart from the majority of thrash metal acts from those days as lead vocalist Russ Anderson combines his raw staccato thrash metal vocals, with more melodic oriented clean vocal parts (sometimes high pitched). The whole thing is still pretty raw but the occasionally melodic vocals provide the music with valuable memorability. And the 8 tracks on the 40:58 minutes long album, are all high quality material, written and performed by a top tier band. Tracks like "Chalice of Blood" and "Through Eyes of Glass" are among the highlights, but this is an album with no filler material. Quite a few of the tracks appeared on the band´s demos, but here they are enhanced by a better production, and more detailed arrangements, to provide them with new life.

In addition to the very strong and convincing vocal performance by Russ Anderson, the rest of the band are also very well playing. Fast paced aggressive riffing, great guitar solos, a busy and audible bass, and precision drumming by Paul Bostaph (who later has played with both Exodus, Testament, and of course Slayer). A tight yet organic performance by all involved, which is further enhanced by the raw, powerful, and detailed sound production.

"Forbidden Evil" is upon conclusion a very strong debut release by Forbidden and even though the band didn´t get the big breakthrough with this release (or any of their subsequent releases), "Forbidden Evil" is widely considered a "classic" Bay Area thrash metal release from the 80s, and personally I think that reputation is fully deserved. The performances on the album are more than convincing, the sound production is well sounding for the time, and the material is relatively varied and memorable. A 4 star (80%) rating is deserved.

INTRUDER A Higher Form of Killing

Album · 1989 · Thrash Metal
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UMUR
"A Higher Form of Killing" is the 2nd full-length studio album by US thrash metal act Intruder. The album was released through Metal Blade Records in August 1989. Intruder was formed in 1984 (under the Transgresser monicker) and released a couple of demos before releasing their debut full-length studio album "Live to Die" in 1987. There´s been one lineup change since the debut album as the band have added a second guitarist to the lineup in Greg Messick.

Musically Intruder have developed their original raw thrash/speed metal sound towards a more straight US, Bay Area influenced thrash metal style. I´m often reminded of Forbidden, because of how Jimmy Hamilton delivers his vocals in both straccato raw thrash metal style but also with a more singing type delivery. Joey Belladonna from Anthrax is another vocal reference. Hamilton has a powerful voice, but his singing abilities are of varied quality, or maybe it´s the rather monotone song melodies, which doesn´t always work wonders. As a result I often find myself thinking that the vocals are a distraction from the otherwise very well played and powerful instrumental part of the music. These guys are a tight playing unit, and you´ll be treated to fast played- and more heavy thrashy riffing, very well played guitar solos, and a powerful rhythmic assault.

The material is generally well written for the style, but again the vocal melodies could have been developed upon, to make them more memorable, and the tracks could also have featured more instrumental hooks. Quite a few of the tracks just pass by and you don´t even notice when the next one starts, so there´s definitely an issue with the tracks sounding a bit too much the same. The cover of "(I'm Not Your) Stepping Stone" by the Monkees is not surprisingly quite different sounding to the rest of the tracks though.

"A Higher Form of Killing" is well produced featuring a powerful and clear sound, which suits the music perfectly. So upon conclusion the album is a bit of a mixed bag, but quality wise I´d still say that a 3.5 star (70%) rating isn´t all wrong, despite a few issues with the vocals and the vocal melodies and the fact that some tracks aren´t that memorable.

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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