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

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

METALLICA Master of Puppets Album Cover Master of Puppets
METALLICA
4.61 | 239 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.47 | 206 ratings
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SLAYER Reign in Blood Album Cover Reign in Blood
SLAYER
4.46 | 162 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.43 | 196 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
EXODUS
4.50 | 44 ratings
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ARTILLERY By Inheritance Album Cover By Inheritance
ARTILLERY
4.46 | 36 ratings
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
SEPULTURA
4.39 | 81 ratings
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ARTILLERY When Death Comes Album Cover When Death Comes
ARTILLERY
4.54 | 16 ratings
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METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.33 | 184 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
FORBIDDEN
4.49 | 18 ratings
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DESTRUCTION Eternal Devastation Album Cover Eternal Devastation
DESTRUCTION
4.69 | 8 ratings
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EXHORDER Slaughter in the Vatican Album Cover Slaughter in the Vatican
EXHORDER
4.68 | 8 ratings
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thrash metal Music Reviews

HATESPHERE HateSphere

Album · 2001 · Thrash Metal
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UMUR
"Hatesphere" is the self-titled debut full-length studio album by Danish death/thrash metal act Hatesphere. The album was released through Scarlet Records in April 2001. Hatesphere was formed under the Cauterized monicker in 1993, but changed their name to Necrosis the same year. They released three demos under that monicker before changing their name to Hatesphere in 2001.

So it´s safe to say that these five guys aren´t new to the scene or to playing their instruments even though this release is their debut album, and that´s obvious when listening to the album. The musicianship are on a high level on all posts. Lead vocalist Jacob Bredahl delivers aggressive and raw shouting vocals with passion and conviction, while the rhythm section play powerful solid beats and the two guitarists deliver both tremolo picked riffing, more thrashy rhythmic ditto (even a couple of excursions into more groove oriented territory), and a blistering solo here and there too.

Stylistically Hatesphere play a combination of melodic Gothenburg influenced death metal and brutal thrash metal. Think of a mix of early Soilwork and early The Haunted and you´re halfway there. It´s first and foremost about aggression and power though, so the melodic element of the band´s sound is secondary to that, which also means that this is not a melodeath album, even though it bears traits of that genre. The material are generally well written, but also a bit one-dimensional and as a consequnce the tracks can be hard to tell apart even after several listens. So while the music is catchy and powerful while it plays, it´s not anthemic enough in nature to stick beyond that.

The sound production is raw and powerful (credited to Jacob Hansen and Hatesphere). It´s a suiting professional sounding production for the music featured on the album. "Hatesphere" is upon conclusion a both powerful and promising debut album and while there are some issues with the material being slightly one-dimensional, it´s not a major issue in this type of music, and overall it´s still a great album deserving a 3.5 star (70%) rating.

EXTINKT Postnuclear Trip to Nowhere

Album · 2016 · Thrash Metal
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UMUR
"Postnuclear Trip to Nowhere" is the debut full-length studio album by Polish thrash metal act Extinkt. The album was independently released in April 2016. Extinkt were formed in 2011, so they´ve had a couple of years to hone their playing skills and songwriting craft...

...and that is audible when listening to "Postnuclear Trip to Nowhere". Extinkt are a very well playing band who obviously know exactly which buttons to push for their music to have most impact. Stylistically the material on the 10 track, 25:08 minutes long album is aggressive thrash metal with a raw snarling vocalist in front. Sometimes the music touches death metal brutality, and sometimes a hardcore influence shines through. A band like Ringworm comes to mind and occasionally there´s an audible Slayer influence in the riff department. The inclusion of a cover of "Sex and Violence" by Canivore, also point in the direction of that act as an influence. So Extinkt aren´t the most original sounding act out there, but they do what they do with great conviction and passion.

Extinkt feature a trio lineup of Dziad (Drums), Uappa Terror (Vocals, Guitars), Tom the Srom (Bass, Vocals). While the instrumental part of the music is certainly well played and performed with great aggression, it´s the vocals which stand out on this album. They are varied and quite intense thrash/hardcore vocals with a rare nod towards death metal growling.

"Postnuclear Trip to Nowhere" features a powerful, raw, yet detailed and well sounding production, which does the material great justice. It´s not often you hear an independent relase with a high quality production job like this. So upon conclusion "Postnuclear Trip to Nowhere" is a high quality release in almost every department. If I have to mention a slight issue it would be the stylistic inconsistency on such a short album. It´s a bit of an odd choice to open the album with no less than two instrumentals, including a cover, and also to experiment with goth type vocals on the closing title track. All within a 25 minutes playing time, which could leave some listeners a bit confused as to the overall direction of Extinkt´s musical vision. Personally though I enjoyed every single minute of the album and its diversity and a 3.5 - 4 star (75%) rating is fully deserved.

WHIPLASH Power and Pain

Album · 1985 · Thrash Metal
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Unitron
"Thrash, to kill! Blood, will spill!"

Forming back in 1983 under the name Jackhammer, the New Jersey thrash/speed metal act renamed to Whiplash only a year later, although both names fit well with their sound. They electrified thrashers in 1985 with the release of their debut studio album, whose name of Power and Pain describes what these guys are coming to deliver. Despite being from the US, Whiplash has a lot more in common with the early material from German Teutonic thrash bands like Kreator and Destruction than most US acts, although Kill 'em All-era Metallica should be noted as a valid reference point.

Whiplash you will get after thrashing to the band's incredibly rapid attack. Rivaling Razor when it comes to pure aggression and speed, frontman Tony Portaro's riffs pierce the skin and speed through your veins like motorcycle gangs on the highway. Portaro fills the vocal spot also, viciously barking out mosh pit calls. Amongst all the ripping solos and shredding, there's a tight rhythm section to keep it all together. The whole album will spit through your skull, but highlights definitely include "Stage Dive", "War Monger", "Spit on Your Grave", and the colossal "Red Bomb" which punches you in the gut with it's opening riff.

If you want a classic thrashing from one of the more underrated bands of the US thrash scene, check out Whiplash's Power and Pain. It's a pure, raw, all-out, no-bullshit romp through the pit. Who needs to dive in the pool, when you can Stage Dive? Hope you found this review helpful, feel free to comment!

OVERKILL The Grinding Wheel

Album · 2017 · Thrash Metal
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Unitron
"I grabbed a tape from the floor of the car, jammed it in the dash it played Highway Star. With a foot of lead and that Chevy hop, never gonna stop!"

The Mean, Green, Killing Machine is back with The Grinding Wheel, so Let's All Go to Hades to listen to the Finest Hour. We listeners may get into some Goddamn Trouble while taking The Long Road, but forever Shine On. Come Heavy as The Wheel spins while the Red, White, and Blue waves. Overkill's back after a bit longer of a wait than usual, and it's worth it. As this is simply one of the greatest albums the band and music itself has ever produced.

Opening with the rampaging thrash of "Mean, Green, Killing Machine", this album pretty much never lets up with speedy rapid thrashings and groovy swaggering. The no-bullshit romp and stomp of the track "Goddamn Trouble" is essentially Overkill's own Highway Star and just makes you want to step on the gas and blast away to some tunes that are on absolute fire. This is a band that's been around for well over 30 years, but has more energy than most modern bands can claim to have. Take the rampaging punchy thrash that the band has been blazin' through since 2010's Ironbound, and mix it with a southern bluesy swaggering groove and a bit of Iron Maiden-esque epicness, and you got this killer record.

It's pretty much impossible to pick highlights, as every song slays and has an unbelievable amount of energy. Just try and not to get pumped and ready to conquer the world when listening to this album. Bobby "Blitz" Ellsworth gives one of the greatest vocal performances ever, spitting both epic and energetic fun vocal lines. It's impossible to not chant along to songs like "The Long Road" and "Red, White, and Blue" with the delivery of lines like "We're goin' down the mountain, boys" and "Give us liberty, or we can give you death!". D.D. Verni's basslines are just as fantastic as always, and keeps a catchy as hell rhythm section with Ron Lipnicki absolutely walloping the drum kit like there's no tomorrow. Dave Linsk and Derek "The Skull" Tailer both shred and swing like the thrash masters they are, and are among the very best. The thrashings are brutal, the bluesy grooves are just swingin', and the epic moments couldn't be more epic. The title track that closes the album is the definition of a fantastic finale, it maintains the crunch and speed in places of the rest of the album all the while being a nearly 8-minute epic worthy of classic Iron Maiden or Rush's Cygnus X-1. The orchestration and vocals will send shivers down the spine at the end of the massive conclusion to The Grinding Wheel.

As much as some bands may try, nothing says consistent like Overkill, with only Anvil coming close to matching the classic thrash metal act's consistency. Overkill goes beyond consistency though, and makes one of the greatest damn albums ever made. It's an equal to The Years of Decay, which is another one of the greatest albums ever made. If you are a fan of real, no-bullshit metal, listen to this album. You know, even if you just need a reminder about what metal is, Overkill is metal in it's most powerful form. Even on their sixteenth studio album, Overkill continues to deliver the old school thrashing goods. Just like those lyrics from "Goddamn Trouble", Overkill ain't never gonna stop. Hope you found this review helpful, feel free to comment!

ATTOMICA Disturbing the Noise

Album · 1991 · Thrash Metal
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UMUR
"Disturbing the Noise" is the 3rd full-length studio album by Brazilian thrash metal act Attomica. The album was released through Cogumelo Records in 1991. Attomica had temporarily been a four-piece on "Limits of Insanity (1989)", with bassist André Rod also taking on the vocal duties on that album, but on "Disturbing the Noise", Attomica are back in a five-piece constellation again. André Rod solely concentrates on playing bass on this album and new lead vocalist is Fábio Moreira. There´s been a change on the guitarist post too as João Márcio Francis has replaced Pyda Rod as the band´s second guitarist. Besides André Rod, guitarist João Paulo Francis and drummer Mário Sanefuji are the usual suspects in the lineup.

With a different lead vocalist on each of the band´s first three albums, Attomica naturally hadn´t settled on a sound that they could say was their own. The debut features a savage blackened old school thrash metal assault, while "Limits of Insanity (1989)" was a more technically oriented thrash metal album with a very high pitched and monotone vocal style on top. On "Disturbing the Noise" the sound has changed again, and this time around the music is reminiscent of the more aggressive and fast-paced 80s Slayer and especially mid-80s Dark Angel. It´s safe to say that by 1991 that wasn´t exactly the most original thing to play, but Attomica are convincing and deliver their music with both decent skill and passion.

New lead vocalist Fábio Moreira is a pretty standard raw type thrash metal singer with a staccato delivery. he is nothing out of the ordinary, but he gets the job done and compared to the monotone and brain meltingly high pitched vocals by André Rod, he is a 100% upgrade to Attomica´s music. The instrumental performances are raw, unpolished, and reasonably skillfully delivered. Pounding, fast, and powerful drumming, fast-paced thrashy riffing, and some blistering screaming atonal solos, are some of the ingredients in the band´s music. The sound production is raw and powerful and suits the band´s music perfectly.

After the rather weak "Limits of Insanity (1989)", I didn´t have high expectations to the quality of "Disturbing the Noise", but Attomica pull it off pretty great on this one, delivering a quality raw and aggressive thrash metal album and a 3.5 star (70%) rating is deserved.

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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