Thrash Metal

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Thrash metal is a subgenre of heavy metal that is characterized by its fast tempo and aggression. Thrash metal songs typically use fast, percussive and low-register guitar riffs, overlaid with shredding-style lead work. Thrash metal lyrics often deal with social issues using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The "Big Four" bands of thrash metal are Anthrax, Megadeth, Metallica, and Slayer, who simultaneously created and popularized the genre in the early 1980s.

The origins of thrash metal are generally traced to the late 1970s and early 1980s, when a number of bands began incorporating the sound of the New Wave of British Heavy Metal, creating a new genre and developing into a separate movement from punk rock and hardcore. This genre is more aggressive compared to its relative, speed metal, and can be seen in part to be a reaction to the lighter, more widely acceptable sounds and themes of glam metal.

Thrash metal generally features fast tempos, low-register, complex guitar riffs, high-register guitar solos, double bass drumming, and aggressive vocals. Most thrash guitar solos are played at high speed, as they are usually characterized by shredding, and use techniques such as sweep picking, legato phrasing, alternate picking, string skipping, and two-hand tapping. Thrash lead guitarists are often influenced by the New Wave of British Heavy Metal movement. Thrash guitar riffs often use chromatic scales and emphasize the tritone and diminished intervals, instead of using conventional single scale based riffing. For example, the main riff of Metallica's "Master of Puppets" is a chromatic descent, followed by a chromatic ascent based on the tritone. Rhythm guitar playing is characterized by extensive palm muting and down picking to give the riffs a chugging sound, along with extensive use of the pedal point technique (creating what can be considered a distinctive, 'thrashy' sound). Speed, pacing, and time-changes also define thrash metal. Thrash tends to have an accelerating feel which may be due in large part to its aggressive drumming style. For example, thrash drummers often use two bass drums, or a double-bass pedal, in order to create a relentless, driving beat. Cymbal stops/chokes are often used to transition from one riff to another or to precede an acceleration in tempo. To keep up with the other instruments, many thrash bassists use a pick. However, some prominent thrash metal bassists have used their fingers, such as Frank Bello, Greg Christian, Jack Gibson, Steve DiGiorgio, Robert Trujillo and the late Cliff Burton. Several bassists use a distorted bass tone, an approach popularized by Burton and Motörhead's Lemmy.

Lyrical themes in thrash metal include isolation, alienation, corruption, injustice, addiction, suicide, murder, warfare, and other maladies that afflict the individual and society. Humor and irony can occasionally be found, but they are limited, and are the exception rather than the rule.

Inclusive thrash metal music subgenres:
  • Crossover thrash, often abbreviated to crossover, is a form of thrash metal that contains more hardcore punk elements than standard thrash. It is sometimes referred to as punk metal, though this is generally incorrect due to the existence of other music genres that combine forms of punk rock and heavy metal, such as grunge, crust punk, and more recently metalcore and its subgenres. While thrash metal is heavily influenced by hardcore punk, the overall sound of crossover thrash is more punk-influenced yet more metal-sounding and aggressive than traditional hardcore punk and thrashcore. The term was coined by the band D.R.I. with their album Crossover, released in 1987. The term 'crossover' is based on the metaphor of crossing over from one genre into the other, thus capturing artists the operate within the transition zone between thrash metal and hardcore punk. With the metaphor comes the conception of directionality, such that the genre is applied to hardcore and crust punk artists who have crossed over into thrash metal territory, such as D.R.I., Discharge, The Exploited, The Accüsed, Agnostic Front and Suicidal Tendencies (who eventually ventured into alternative metal), and thrash metal artists who crossed over into hardcore punk territory, such as Nuclear Assault and S.O.D. A number of death metal bands (especially those of the first wave of Swedish death metal) draw on hardcore punk, mainly because their members listen to crossover thrash - these bands are included under the death metal subgenre here at the MMA.
  • Death-thrash combines elements from thrash metal and death metal. The most common type of death-thrash is based on thrash metal music (often played a bit faster than standard thrash metal) with growled vocals. Sepultura's "Schizophrenia", "Beneath the Remains", and "Arise" are considered examples of death-thrash. Given that death metal is derived from thrash metal, many early death metal bands played a style that was anchored thrash metal and could be considered death-thrash. Many of those artists are included under the death metal genre here on MMA.
  • Technical/progressive (or tech/prog) thrash metal is considered a legitimate genre by some (or even two legitimate genres), while others argue that it is a pseudo-genre. Bands included in this genre take emphasize technicality in their music, in the form of complex riffs and/or complex song structures, while others apply the ethos of progressive music more broadly without straying from their basic thrash metal sound. Examples of artists that are sometimes considered tech/prog thrash metal acts are Dark Angel, Death Angel (especially on "Act III"), Annihilator, Artillery (especially on "By Inheritance", "When Death Comes", and "My Blood"), and Invocator. Releases like "Master of Puppets" and "...And Justice For All" by Metallica are quite progressively oriented with complex song structures and numerous sections per song. Some bands like Voivod, Antithesis and Watchtower took the progressive approach so far that they are primarily considered progressive metal artists rather than thrash metal artists.
  • Blackened thrash metal is thrash metal with black metal elements. Its thrash metal basis is more primitive and akin to early German thrash metal. Examples of blackened thrash metal bands are Assaulter, Aura Noir, and The Metaphor. It should be mentioned that much early black metal, such as Venom and Hellhammer/Celtic Frost actually had its roots in thrash metal.


Source: http://en.wikipedia.org/wiki/Thrash_metal

Written by Time Signature.

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

thrash metal top albums

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METALLICA Master of Puppets Album Cover Master of Puppets
METALLICA
4.53 | 272 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.48 | 230 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.44 | 223 ratings
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ANNIHILATOR Never, Neverland Album Cover Never, Neverland
ANNIHILATOR
4.44 | 76 ratings
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
SEPULTURA
4.38 | 94 ratings
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
ANNIHILATOR
4.40 | 64 ratings
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SEPULTURA Arise Album Cover Arise
SEPULTURA
4.32 | 96 ratings
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METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.30 | 211 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
EXODUS
4.35 | 53 ratings
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ANTHRAX Among The Living Album Cover Among The Living
ANTHRAX
4.32 | 83 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
FORBIDDEN
4.45 | 21 ratings
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DARK ANGEL Darkness Descends Album Cover Darkness Descends
DARK ANGEL
4.42 | 23 ratings
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thrash metal Music Reviews

CRYPTIC SHIFT Visitations from Enceladus

Album · 2020 · Technical Thrash Metal
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UMUR
"Visitations From Enceladus" is the debut full-length studio album by UK, Leeds based progressive death/thrash metal act Cryptic Shift. The album was released through Blood Harvest Records in May 2020. Cryptic Shift formed in 2012 (originally as Crÿptic Shift) and have released a string of minor releases (demos, singles, and the 2016 "Beyond the Celestial Realms" EP) before recording and releasing "Visitations From Enceladus".

Stylistically the material on the 4 track, 46:35 minutes long album is sci-fi themed technical/progressive death/thrash metal. Cryptic Shift play a rather chaotic, structurally complex, and often dissonant extreme metal style with elements from both thrash metal, death metal, and progressive metal in the more extreme end of the spectrum. It´s highly progressive music and a bit inaccessible too. The listener is immediately pummeled by the 25:57 minutes long album opener "Moonbelt Immolator", which is an incredibly complex track featuring many different sections and atmospheres. The vocals are predominantly raw shouting thrash styled vocals or growling death metal vocals, but the album also features other types of vocals like spoken/talking sections and robotic effect vocal sections. Because of the use of dissonant chords Voivod are an obvious influence, but Cryptic Shift play a much more technical and challenging music style than the Canadians ever did.

"Visitations From Enceladus" features a raw, powerful, and well sounding production job, which suits the material perfectly. I especially enjoy the sharpness of the snare drum, but also how clear every guitar note is heard in the mix. I´m a bit more in doubt how much I enjoy the actual music though. To my ears the material are almost too inaccessible and the tracks lack catchy moments and memorable riffs. The vocals are also a bit too low in the mix and while they get the job done, they don´t really shine or make much of an impression.

The shorter tracks on the album are a bit easier to follow than "Moonbelt Immolator", and my initial impression of the album being a structurally chaotic mess is a bit lessened when listening to a track like "(Petrified In The) Hypogean Gaol". A little less focus on playing a million notes and incorporating hundreds of different riffs and rhythms on every track and a little more focus on memorability could have done the trick, but as a debut release there is still lots of promise here. When Cryptic Shift learn to trim the fat and produce more catchy moments there may be greatness ahead. Sometimes less is more. A 3.5 star (70%) rating is deserved.

GAMA BOMB Sea Savage

Album · 2020 · Thrash Metal
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Kingcrimsonprog
Since being a teenager, my favourite subgenre of Metal has always been Thrash Metal. However, for some bizarre reason, when the New Wave Of Thrash Metal started, and lots of younger bands started making top quality Thrash, I utterly slept on it, not exploring it at all, or sometimes I even outright dismissed it.

This year I’ve been rectifying that, giving bands like Hazzerd, Harlott, Hyades, Havok, Power Trip, Lich King, Mosh-Pit Justice and Municipal Waste their fair shot and being won over time and time again.

The one exception to my New Thrash blind spot has always been Gama Bomb, maybe its because they’re my fellow countrymen, maybe its because they strike the right balance of humour and fun without descending into parody, maybe its just because they write the most memorable songs, but even when I had a “1980s or GTFO” attitude towards Thrash, I’d still find time to listen to Gama Bomb, recommend them to people, and I was even lucky enough to see them live (remember concerts guys?) when a guitarist I knew gave me a free ticket and transport (good guy!) back before I went to concerts regularly or was able to drive.

Many years since I first went in on the band with their Tales From The Grave In Space record, Gama Bomb have now released what I believe to be not only their best album to date, not only one of the best NWOTM albums I’ve heard, not only an album as good as what the ‘80s bands can put out nowadays, but one of the straight-up best Thrash albums I’ve heard to date from any era.

You heard that right. This album is their best one yet. This album can stand proudly up to the best things Slayer or Anthrax have been putting out since the ‘00s, and this album can stand up happily to some things Death Angel or Heathen were putting out in the late ‘80s. Never mind simply holding its own; this album is actively better than most of the output Thrash bands put out in the ‘90s and arguably better than some (if not a lot) classic Thrash and Proto-Thrash albums of 1983-1985 too!

I was a week one buyer (December 2020) after getting mega hyped by the pre-release singles, but it has taken me this long to write a review simply because I wanted to make sure how hard I like it wasn’t just hype or a sort of bubble-gum scenario where the flavour will go away really soon kind of thing. However, a few months later and I still think this record is a damn masterpiece of Thrash.

Songs like “Miami Super-Cops,” “Sea Savage,” “Ready, Steady…Goat!” and “Sheer Khan” just get stuck in my head for days. I have so often been on a walk these days and been unable not to sing aloud “Down, down, town!” during “Miami Super-Cops” when I had otherwise been walking in silence, sometimes leading passers-by to look at me like I am a lunatic. I don’t care, its so catchy it is irresistable!

Alongside top notch, catchy as hell tunes, everything else works perfectly. The production is tight, the playing is brilliant, the vocals just get better every time you hear them (some of those crazy Agent Steel-style screeches are so catchy) and the mixture between serious traditional Thrash music but goofy lyrics just works so well (but importantly, without being comedy music, which is always a turn-off for me). For example, when they go into “What shall we do with a drunken sailor” in the middle of the title track, it comes across as really clever even though it probably shouldn’t.

In summary, if you like Thrash Metal and can get over the fact that the band are not from the 1980s, you absolutely need this album in your collection, no questions asked.

TESTAMENT Low

Album · 1994 · Thrash Metal
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UMUR
"Low" is the 6th full-length studio album by US, California based thrash/heavy metal act Testament. The album was released through Atlantic Records in September 1994. It´s the successor to "The Ritual" from 1992 and features a couple of lineup changes compared to the lineup who recorded the predecessor. Drummer Louise Clemente was replaced by John Tempesta and guitarist Alex Skolnick was replaced by James Murphy. Tempesta was known for his work with Exodus while Murphy had played on albums by Death, Obituary, Cancer, and Disincarnate. Both are skilled and worthy replacements (although I personally prefer Skolnick over Murphy).

"The Ritual (1992)" introduced a new and more accessible heavy metal sound with only occasional thrash metal leanings, but with "Low", Testament are back in thrash metal mode. This time around with more focus on groove, which is audible already from the opening title track. It´s not as such groove metal, but there certainly is a strong emphasis on groove throughout the album. The music features hard edged and sharp thrash metal riffs, powerful rhythms, well played leads, and Chuck Billy´s powerful vocals in front. His singing on the album is relatively varied, and he sings both semi-clean, raw, and even occasionally brutal growling vocals.

The material on the 12 track, 47:19 minutes long album are generally well written, although not all tracks are equally remarkable. Some of the highlights include the title track and "Hail Mary", while a track like the fusion influenced instrumental "Urotsukidôji" may be a standout track, but not in a positive sense. It´s the kind of track which disrupts the album flow, and overall sounds more like the band had fun in the studio playing something different, than a track which was written specifically for the album.

"Low" features a powerful and detailed sound production and strong musical performances, but it´s not the strongest Testament album in their discography. So while it signals a (for many) welcome return to a more thrash metal oriented sound after the "softer" "The Ritual (1992)", I dare say it´s a slightly less interesting release compared to the predecessor. A 3 - 3.5 star (65%) rating is warranted.

UNCLE SLAM When God Dies

Album · 1995 · Crossover Thrash
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UMUR
"When God Dies" is the 3rd full-length studio album by US, California based crossover thrash metal act Uncle Slam. The album was released through Medusa Records in January 1995. It´s the successor to "Will Work For Food" from 1993 and features one lineup change since the predecessor as drummer Amery AWOL Smith has been replaced by R.J. Herrera (formerly of Suicidal Tendencies).

Stylistically "When God Dies" is slightly different to "Will Work For Food (1993)". It´s still crossover thrash metal, but this time around with an occasional alternative edge (most audible on the opening title track, which features funk elements). Lead vocalist/guitarist Todd Moyer has changed his vocal approach too from a raw shouting vocal style, to a more melodic semi-raw delivery. It´s probably an aquired taste, but personally I prefered his raw vocals on the predecessor. The basis of the music is still relatively simple thrash/heavy metal riffing and hardcore punk influenced rhythms. It´s seldom as hard edged and sharp as on the previous releases though, and overall "When God Dies" is the band´s least heavy release.

The sound production is relatively well sounding, and the musicianship is decent, but ultimately the impression of the album is that it´s a step down and that the new change in direction isn´t working that well for the band. It´s not a bad quality release by any means though, and there are some pretty strong material on the album although highlights are few and far between. A 3 - 3.5 star (65%) rating is warranted.

VOIVOD Killing Technology

Album · 1987 · Technical Thrash Metal
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UMUR
"Killing Technology" is the 3rd full-length studio album by Canadian, Quebec based progressive thrash metal act Voivod. The album was released through Noise Records in April 1987. It´s the successor to "Rrröööaaarrr" from 1986. The original vinyl version of the album only features 7 tracks, while the cassette and the CD versions feature the two tracks from the 1987 "Too Scared to Scream"/"Cockroaches" single as bonus material.

"Killing Technology" marks a change in Voivod´s sound from the raw punked thrash/speed metal of the two predecessors to a techncial/progressive thrash metal sound. There is still the odd nod towards raw and unhinged sounding hardcore punk, but Voivod have generally opted for a more sophisticated playing and writing style on this album. Most tracks are long and structurally adventurous, and it´s interesting how much Denis "Piggy" D'Amour´s guitar riffs and writing ideas have evolved over such a short period of time, and how much the increased dissonance and unconventional chord progressions change Voivod´s sound.

Lead vocalist Denis "Snake" Bélanger still sounds right out of a hardcore punk group, singing raw shouting vocal lines, but even he has added an extra layer to his delivery, singing more varied and even at times hitting a semi-melodic note. His voice and vocal style will probably always be an aquired taste, but his rather distinct sounding style arguably brings an original touch to that part of Voivod music.

"Killing Technology" features sci-fi themes lyrics and imagery, and the alien nature of the music itself fits perfectly with the sci-fi themed lyrics. The often space like coldness of the music and the robotic sound effects on Bélanger´s voice on the title track even further enhances the feeling of being aboard an alien space ship travelling the universe. "Killing Technology" features well written and relatively varied tracks. To my ears the original vinyl tracks are the main attractions, while the two CD/cassette tape bonus tracks sound slightly out of place and actually disrupt the flow of the album. Tracks like the title track, "Forgotten in Space", and "This Is Not an Exercise" are killer material, featuring a great balance between the raw and thrashy and the sophisticated and proggy, but more immedate tracks like "Tornado" and "Ravenous Medicine" are no less intriguing.

"Killing Technology" features a raw yet detailed and powerful sounding production job, which suits the material perfectly. So upon conclusion it´s through and through a high quality release by Voivod. To this day I´m still not sure how Voivod were able to create such a unique sound and even pull off selling a decent number of copies of this album. Even more admirable they were able to build a career writing and playing music that is as far from being mainstream as you can possibly get. A huge achievement in my book...A 4.5 star (90%) rating is fully deserved.

thrash metal movie reviews

MEGADETH Megadeth - VH-1 Behind the Music Extended

Movie · 2001 · Thrash Metal
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martindavey87
The Megadeth episode of VH1’s ‘Behind the Music’ series is pretty much exactly what it says it is; a look at the history of one of heavy metal’s most beloved bands. The VH1 name gives this a bit more credibility and authenticity than your typical unofficial band biography, and as such, this features interviews with band members past and present, as well as other people associated with the band at one point or another.

Looking candidly at Dave Mustaine’s expulsion from Metallica, the bands early days and their later attempts to break into mainstream territory, as well as Mustaine’s endless battles with addictions, other than being a bit outdated now, (being released in 2001), this is overall a very interesting watch, and a worthy addition to any Megadeth fan’s collection.

METALLICA Some Kind of Monster

Movie · 2004 · Thrash Metal
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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.

METALLICA Classic Albums: Metallica - Metallica

Movie · 2001 · Thrash Metal
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martindavey87
This is basically a DVD highlights package of the two Metallica VHS releases, ‘A Year and a Half in the Life of…’ that the band released in the early 90’s. A harmless enough watch, which looks at the making of one of heavy metal’s most iconic albums, we’re given a track-by-track look at the process of writing and recording each song, and there’s some additional material with band members reflecting upon the album years later.

It’s interesting to watch, but it mostly comprises of footage we’ve already seen in countless other videos, and it lacks all the emotional depth of Metallica’s 2004 movie ‘Some Kind of Monster’.

Still, while it’s hardly going to be the most riveting thing you’ve ever watched, if you’re a fan of Metallica it’s certainly not a bad way to kill two hours.

METALLICA The Videos 1989-2004

Movie · 2006 · Thrash Metal
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martindavey87
Let’s face it, when it comes to music videos, Metallica have had some absolute bangers, and some absolute stinkers. Some of them, such as the iconic ‘One’ and ‘Enter Sandman’, have become heavy metal classics, which stand up as well today as they did upon release. Then there’s the not-so-classic ones… ‘Hero of the Day’, ‘King Nothing’ and ‘The Unforgiven II’, all of which are great songs, but the videos could easily be any other generic rock band from that era.

With that said though, this is a cool disc for any die-hard Metallica fans. Music video compilations are obsolete now thanks to YouTube, but it’s still cool for a collector to have these on DVD, especially if they insist on owning everything a band puts out.

METALLICA Cunning Stunts

Movie · 1998 · Thrash Metal
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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.

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