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

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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 | 246 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.47 | 212 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.46 | 200 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
EXODUS
4.51 | 45 ratings
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SLAYER Reign in Blood Album Cover Reign in Blood
SLAYER
4.43 | 168 ratings
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
SEPULTURA
4.41 | 83 ratings
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
ANNIHILATOR
4.38 | 58 ratings
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ARTILLERY By Inheritance Album Cover By Inheritance
ARTILLERY
4.40 | 37 ratings
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METALLICA ...And Justice for All Album Cover ...And Justice for All
METALLICA
4.32 | 191 ratings
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DESTRUCTION Eternal Devastation Album Cover Eternal Devastation
DESTRUCTION
4.64 | 9 ratings
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OVERKILL Horrorscope Album Cover Horrorscope
OVERKILL
4.38 | 37 ratings
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ANTHRAX Among The Living Album Cover Among The Living
ANTHRAX
4.32 | 69 ratings
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thrash metal Music Reviews

VARGA Mileage

Single · 2018 · Thrash Metal
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Unitron
Varga made a small name for themselves back in the early 90's with their single "Greed" being featured on the popular MTV cartoon Beavis and Butthead. Said single came from the band's debut studio album, Prototype, which was an amazing industrial/groove/thrash metal album which had amazing riffs, hooks, and variety. It's really one of the best hidden gems of 90's metal. However, the band started out playing technical thrash metal with their debut demo. When the band returned from a long time away in 2011, they released two albums a few years later which saw a return to their original sound.

Now those two new studio albums were fantastic comeback albums, and it was great to see such an underrated band come back with flying colors. Now the band has returned yet again with a new single, that ranks with the band's absolute best songs. "Mileage" is a crushing thrash metal track that's full of bite and attitude. Joe Varga's vocals has his signature edgy thrash personality blended with some higher-range vocals that scream so much attitude with the chorus. His bass, Dan Fila on drums, and Sean Williamson's guitar work bring a fantastic and catchy groove to the whole song. Williamson plays a killer spinning chromatic guitar solo that is complimented perfectly with Varga's low tuned and driving bassline.

All in all, this is classic Varga. It's a perfect mix of the band's reformed tech thrash sound with the personality and groove of their classic Prototype. Speaking for myself as a huge Varga fan, this single has me hyped for more. Can't wait to hear what these guys have coming next! Hope you found this review helpful, feel free to comment!

WITCHERY Witchburner

EP · 1999 · Thrash Metal
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UMUR
"Witchburner" is an EP release by Swedish metal act Witchery. The EP was released through Necropolis Records in March 1999. It bridges the gap between the debut full-length studio album "Restless & Dead (1998)" and the band´s second full-length studio album "Dead, Hot and Ready (1999)". There have been no changes in the lineup since the debut album, so the five-piece of Toxine (Vocals), Mique (Drums), Richard Corpse (lead guitars), Patrik Jensen (rhythm guitars), and Sharlee D'Angelo (Bass, lead guitars), is still intact. Some of the members are rather prolific and are also featured in acts like Mercyful Fate, Arch Enemy, and The Haunted.

"Witchburner" is a 7 track, 25:21 minutes long EP, featuring 4 cover tracks and 3 originals. The covers are "Fast as a Shark" by Accept, "I Wanna Be Somebody" by W.A.S.P., "Riding on the Wind" by Judas Priest, and "Neon Knights" by Black Sabbath. Pretty good material choices considering Witchery´s usual traditional oriented heavy/speed/thrash metal style. Toxine is of course a more extreme type vocalist than the guys who sang on the originals, but he gives it his all, and the raw vocals generally work really well on the covers. I think Toxine´s voice and delivery work the best on "Fast as a Shark" and "I Wanna Be Somebody", because both Udo Dirkschneider (Accept) and Blackie Lawless (W.A.S.P.) are rather extreme vocalists in their own right, while especially "Neon Knights" doesn´t work as well, because Dio´s vocal style is more melodic, and Toxine isn´t fully able to do Dio´s vocal lines justice with his hoarse croak. The three original tracks are of a good quality and pretty much continue the music style of the debut album.

The musicianship is on a high level, and the material is well produced too, so "Witchburner" is overall a great quality EP release by Witchery. There´s both enough quantity and quality to justify a 3.5 star (70%) rating.

MEGADETH Countdown to Extinction

Album · 1992 · Thrash Metal
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martindavey87
Hot off the heels of one of thrash metals most revered albums, 1990's 'Rust in Peace', Megadeth slowly started to inch away from the subgenre that they helped to establish, and adapted a more stripped-down radio-friendly approach to their sound. Whether it was a step to ensure their survival amidst shifting musical trends, the next logical progression in the bands own evolution, or a shameless parallel to Dave Mustaine's former bandmates in Metallica, it was a change that ensured that Megadeth would remain one of the prominent names in heavy metal.

Changes aside, this is still instantly recognisable Megadeth, with Dave Mustaine's familiarly distinctive vocals, Marty Friedman's sleek and exotic guitar solos and the solid rhythm work of bassist David Ellefson and drummer Nick Menza. The compositions may have slowed down a notch in favour of more coherent songwriting and more traditional arrangements, but it still sounds like Megadeth through and through.

The only problem is that the songs themselves are not overly memorable.

Sure, there's some absolute Megadeth classics here, such as 'Skin o' My Teeth', 'Symphony of Destruction', 'Sweating Bullets' and 'Foreclosure of a Dream', and there's some underrated hidden gems such as 'Psychotron' and the title track, but there's also some fairly blatant filler material. Songs like 'High Speed Dirt', 'This Was My Life' and a few others do absolutely nothing for me.

'Countdown to Extinction' is regarded as a classic, and in fairness, despite my opinion of it, I won't argue the case. But for me, it's nothing more than a good album. It's got some Megadeth highlights, but its abundance of lacklustre material makes it tough for me to choose this over some of the bands other releases.

VARIOUS ARTISTS (GENERAL) Speed Kills...But Who's Dying? - Volume 4 of the Ultimate In Thrash

Album · 1989 · Thrash Metal
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Vim Fuego
Young metal fans today have it easier than in days gone by for discovering new music. YouTube, Spotify, Facebook, websites, streaming, downloads, message boards... None of things existed until at the late 1990s at the very least. The young know not what they missed.

Back in a pre-internet time, communication was much slower, and information much harder to access. Music had a more limited number of formats. There was vinyl, which was inconvenient and easily damaged. Cassettes were more convenient, but were also prone to damage when tapes stretched and chewed, and had definite sound quality issues. CDs were new, and had great clarity of sound, but they were expensive. A lot of labels and bands could not afford to release material on CD, and CD players could cost as much as a second hand car. Live was the best way to hear a band, but if the bands didn’t come to your country, you’d never hear them.

Discovering new bands and new music was also trickier. Radio and TV were next to useless, a few notable exceptions excluded. Try explaining to a teen metal fan now the frustrations of trying to tune into a metal show at 11pm on a Sunday night, broadcast from a student radio station with less power than a lightbulb (I kid you not. The transmitter for 98RDU, my nearest student radio station had a 98 watt transmitter!). Trying to even get a barely recognisable signal involved orienting the radio in the right direction, fiddling with the aerial, and stringing bits of wire around the room as an antenna extension. And then if it was raining or windy, just forget it completely.

All in all, it was a pain in the fucking ass. It took a lot of effort, could cost a lot of money, and it was easy to miss things. So just imagine the satisfaction, and the near priapic joy, when you managed to discover something as magnificent as “Speed Kills...But Who's Dying?”

The Speed Kills series of compilations had been going since 1985 as a showcase of what was new in “speed metal” on the Under One Flag/Music For Nations label. Even in 1985 with the release of the first compilation the title was already out of date. Through licensing deals and the label’s own releases, that album featured Metallica, Slayer, Megadeth, Venom, Voivod, Celtic Frost, and a number of other early thrash metal bands, with only a couple of genuine speed metal tracks, but there was little distinction made in those days. Basically, it was metal, it was fast, and it was well outside the mainstream.

By 1989 with the release of the fourth album in the series, “Speed Kills...But Who's Dying?” underground metal was becoming a little more fragmented. Death metal, black metal, and grindcore were all starting to emerge as distinct subgenres. The likes of Metallica and Megadeth were on the cusp of mainstream success, and would never again be seen on a compilation like this. So what was left? An outsider who knew little of metal would probably call “Speed Kills...But Who's Dying?” second rate, or second tier, but this compilation isn’t for them. This is for the true fans, those who want to dig deeper, to a place where commercial success does not equate to quality. This is for people who wanted to explore the deeper dungeons of thrash metal, rather than just leaping about the parapets of the Big Four.

There are endless arguments about who comes next after the legendary Big Four. Cases can be made for Testament, Overkill, Kreator (which forgets Germany had its OWN Big Three/Four), or the first band on this compilation, Exodus. Long may these good, friendly, violent discussions continue, but don’t forget the music. The song “Parasite” is one of the stronger tracks from Exodus’ second and ultimately flawed album “Pleasures of the Flesh”. It has all the Exodus trademarks which marked them for metal stardom - heavy riffs, shredding solos, Steve Souza’s sharp shout, intelligent lyrics, and it’s just a fucking good song.

Re-Animator were marked for big things too. While history has proved otherwise for the band, “Deny Reality” is a great technical song, and arguably the best the band ever recorded. Unfortunately, Re-Animator couldn’t maintain such a high level of song writing throughout their career, and faded out in the early 1990s.

Apocalypse’s “Cemetery” has a melody to die for, a big facet of thrash metal often overlooked in the race for faster/heavier. The singalong gang vocal refrains are irresistible.

Blind Illusion’s “Blood Shower” has a building menace, and featured a pre-Primus Les Claypool and Larry LaLonde. Mark Biedermann’s vocals have a shredded throat edge, and the twin harmonic/disharmonic guitars were something not used near enough in thrash.

Acid Reign’s “Life in Forms” is a tirade against bureaucracy. Seem like a boring subject for a song? Listen to this killer before you dismiss it. The mid-pace chug of this song is unbelievably heavy, and H’s clear vocals are a treat.

Death’s “Open Casket” was definitive death metal in it’s day. The album “Leprosy” from which this song was taken proved death metal didn’t have to be a gargled mess, and riffs, solos, and non-gore based lyrics could still be brutal as fuck.

“No Resurrection” by Holy Terror is an anti-Christian diatribe, with tornado guitars and vocals. Holy Terror was a bit much for many thrash fans at the time, but looking back, it’s now plainly obvious why this band has since attained cult status.

“For All Those Who Died” by Bathory is dramatic and brutal, yet atmospheric and uplifting at the same time. The incredibly simple beat and riffs underscored Quorthon’s roared vocals. The discordant, seemingly out of time solo snakes its way over top of the song, with every element of the song seemingly redlining into static.

And on to side two. Yes, this is one of those old “you gotta turn it over” things. “Wired” is far from a typical Nuclear Assault song. The NYHC influence is less obvious than in their earlier material, basically because this is so damn slow. The vocals are near on impossible to decipher on a first listen, like listening to a foreign language you are still in the process of learning. The effect is odd, and definitely original, but it’s not off-putting.

“Execution of Mankind” by Agony is the only misfire on the album. It’s too long and doesn’t really engage like the rest of the songs here, but like “Wired”, it adds a bit of contrast to the faster songs here. It’s not necessarily a bad song, it’s just not as good as everything else on here.

“Mirror of the Past” by Hexx is a nasty little song, possessing a quantity of venom and bile. Clint Bower’s vicious vocals have a hardcore edge to them, and almost cross over into death metal territory.

Exodus pop up next, for a second appearance, this time a cover of AC/DC’s “Overdose”. The song was a bonus track on some versions of “Fabulous Disaster”. Zetro does a great Bon Scott vocal impression. This version retains the blues rock groove of the original, while adding thrash flourishes to it, and of course, is orders of magnitude heavier.

Forbidden’s “Chalice of Blood” is a masterclass in technical thrash. The twin lead guitars weave in and out of one another, all the while showcasing some incredible riffs, and Russ Anderson’s melodic yet powerful voice soars over it.

Death/thrash pioneers Possessed showed there was more to their repertoire than just Satan. “Storm in my Mind” is a psychological maelstrom, creeping along creating a sense of impending chaos. And the chaos hits, like a psychotic brainstorm of confused neural signals. This band is legendary, and this shows why.

At their peak, Dark Angel was the only band in all of thrash to be able to rival Slayer for intensity and sheer shit-your-pants horror. “The Death of Innocence” is a whirlwind song with a far nastier tone than anything else here, and is probably harder for a new thrash fan to digest than even Death or Bathory.

How to follow Dark Angel? Change direction and tempo completely. Final track “Suspended Sentence” shows once again Acid Reign’s lyrical intelligence and great sense of song dynamics. It rumbles and chugs along at a slow canter, but occasionally gallops off into a blast beat. The song has some seriously thought-provoking lyrics about murder, the moment before death, and the price of a life.

All in all, this album is 73 minutes of near metal perfection. It is the perfect basecamp for starting a wider exploration of thrash. It is also an incredibly accurate time capsule of a genre from a time since past, the original spirit preserved here for posterity in a format now almost extinct. This is how it was.

METALLICA St. Anger

Album · 2003 · Thrash Metal
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Necrotica
St. Anger is a bad album. St. Anger has no solos. St. Anger has irritating and off-key vocals from James Hetfield. St. Anger has an horrible-sounding snare drum. But none of these points are a revelation, clearly. We’ve all heard these criticisms uttered countless times, and Metallica fans often point to it first (well, either this or Lulu) when they talk about the band losing their touch. It’s gotten to the point that other bands’ failures - such as Morbid Angel’s Illud Divinum Insanus and now Machine Head’s new album Catharsis - are being considered their respective artists’ versions of St. Anger. Indeed, it has that reputation. So why am I even bringing any of this stuff up?

Because I want to focus on intent. One quote from James Hetfield really struck me: “St. Anger is just the best we can do right now.” If you’ve never checked out the background behind the album (see: Some Kind of Monster), the history behind its conception is one giant shit-show. Jason Newsted left the band, James Hetfield was going into rehab as his alcoholism reached its breaking point, the band received backlash due to a lawsuit with Napster, and the group even hired a therapist to help them with their emotional struggles. But what’s even more important is that St. Anger was intended as a return to Metallica’s garage band roots, which explains the lack of solos. In Kirk Hammett’s words: "We wanted to preserve the sound of all four of us in a room just jamming.” As butchered and broken as the final product sounds, I can’t stress how much of a passionate piece of music the whole thing is. It’s such a deliberate attempt to avoid the mainstream hard rock trappings of Load and ReLoad to capture something from their distant past, and that’s where my admiration for it truly comes from. Many of us were in a shitty garage band back in our youths, sounding like ass but thinking we were true badasses as we played covers of our favorite bands. Hell, I was in one of those shitty bands myself! I briefly sang in a short-lived rock band in my junior year of high school, belting out such classics as “Seven Nation Army” and “Beast and the Harlot.” I don’t really talk to my old bandmates anymore, but those memories are always going to be part of me no matter where I go. For better or for worse (well, certainly for worse, but still…), St. Anger gives me the same feelings.

The album has a distinct fury and aggression that seem genuine, stemming from the band’s actual struggles and frustrations in their personal lives. Metallica was a very broken band at the time, and sometimes the best way to reboot your career is to start from ground zero and rebuild your sound from there. St. Anger is ground zero, much like the band’s pre-Kill ‘Em All days were their original ground zero. This is Metallica in their purest, most unhinged form. It may be ugly, badly written, and just fucking horrible in its overall presentation, but it also holds a place in my heart because of the exact same reasons. This is an awful, messed up, glorious, phenomenal disaster.

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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