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

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METALLICA Master of Puppets Album Cover Master of Puppets
METALLICA
4.54 | 258 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
MEGADETH
4.51 | 217 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
METALLICA
4.46 | 210 ratings
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ANNIHILATOR Never, Neverland Album Cover Never, Neverland
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4.43 | 73 ratings
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
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4.40 | 86 ratings
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
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4.36 | 61 ratings
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EXODUS Fabulous Disaster Album Cover Fabulous Disaster
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4.38 | 48 ratings
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METALLICA ...And Justice for All Album Cover ...And Justice for All
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4.32 | 200 ratings
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ANTHRAX Among The Living Album Cover Among The Living
ANTHRAX
4.34 | 73 ratings
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DARK ANGEL Darkness Descends Album Cover Darkness Descends
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4.44 | 23 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
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4.45 | 21 ratings
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FLOTSAM AND JETSAM Doomsday for the Deceiver Album Cover Doomsday for the Deceiver
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4.36 | 37 ratings
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thrash metal Music Reviews

DESTRUCTION Born To Perish

Album · 2019 · Thrash Metal
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Kev Rowland
As soon as I put on the latest album from Destruction I wondered what on earth had happened, as the band were totally different from what I had heard on ‘Under Attack’. The drums are much more in your face, the guitars are heavier and the band has far more venom and power. I was convinced there had to be a new drummer and producer on board, and was somewhat surprised on checking the press release to see that not only is there a new drummer in Randy Black (Duskmachine, Level 10, ex-Deception, ex-Annihilator, ex-Primal Fear, ex-Rebellion, ex-W.A.S.P. (live)) but an additional guitarist in Damir Eskić (ex-Gonoreas, Gomorra). Anyone who has survived playing with the Canadian madman Jeff Waters has to know his stuff, and he definitely proves this here as the man is a monster. Having a drummer who can really drive a band from the back is worth their weight in gold as he not only provides the platform required but also pushes the guitarists into delivering something even more special – anyone who has seen the video of Testament performing “Rise Up” knows just what a difference it makes having Gene Hoglan in the band.

While this is not in a massively essential thrash album, it is a big step change from the last one in just about every area, from songs through performance and into production, with far more depth and power to the overall sound. The band have operated as a trio since the beginning of the century, so this line-up change is a major one for them, and allows Mike Sifringer to trade licks and ideas with another person for the first time in nearly 20 years, and this has provided the guys with new emphasis and energy. They have been one of the top Teutonic thrash bands for many years, and released their debut ‘Infernal Overkill’ all the way back in 1985 (as a trio, with both Mike and bassist/singer Schmier), and here they show that there is still plenty of life in them yet. It will be interesting indeed to see what the next album is like once the quartet have been out on the road a while and really bedded down. As it is, it is a welcome return to form.

DESTRUCTION Under Attack

Album · 2016 · Thrash Metal
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Kev Rowland
This 2016 album saw Destruction back with the same line-up as the previous few albums, with Schmier (vocals, bass) and Mike Sifringer (guitars), both of whom had been there since the beginning in the early Eighties and drummer Wawrzyniec "Vaaver" Dramowicz. Yet again we have Kreator-style Teutonic thrash but for me there is something missing from this album. It seems way more one-dimensional than their previous release, ‘Spiritual Genocide’, and in many ways it feels almost as if they are standing still and waiting for the next piece of inspiration. The sound feels really light with not much in the bottom end, and I soon found it was washing right over me. These guys have been at the forefront of German thrash metal for many years, and I don’t think it’s possible for them to release a really poor album, but there again there is little in here which makes me want to keep playing it over and again. The ideas are the same, the sound is weak, and there is the impression they are playing at it as opposed to really meaning it.

It is hard for bands to keep producing album after album for more than 30 years and this shows. While never awful, it just doesn’t get to the level one expects from a band of this experience and it certainly isn’t one I would point to as a great example of either Destruction or the genre.

KING GIZZARD AND THE LIZARD WIZARD Infest the Rats' Nest

Album · 2019 · Thrash Metal
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siLLy puPPy
Coming out of Melbourne, Australia, the catchily named KING GIZZARD AND THE LIZARD WIZARD has proved itself as a prolific act that has been impossible to ignore as the band has weaseled its way onto prog sites, metal review columns and pops up just about everywhere these days with its unique blend of alternative psychedelic rock with pop hooks, metal leanings and garage rock sensibilities. The year 2017 proved to be the most ambitious of all with five albums released but in 2019 the GIZZARD dropped two more bombs onto the world and further expanded its genre bending tendencies once again.

INFEST THE RATS’ NEST is the band’s 15th album since its formation in 2010 and takes its sound boldly into the world of thrash metal, a place only scantly hinted upon on the predominantly psychedelic prog that has graced the previous albums. With a seemingly infinite amount of inspirational mojo, the GIZZARD eschews the psychedelic indie rock sounds of the past and instead turns to classic Metallica, Slayer, Exodus and Overkill for inspiration and instantly finds the band appearing in heavy metal databases worldwide to the chagrin of metal purists who just can’t accept these crossover acts as legit metal entities but nonetheless, INFEST THE RATS’ NEST is a bona fide thrash metal album albeit with stoner garage rock tendencies chock full of guitar riffing heft and double kick drumming.

While death metal and black metal have spiraled off into a million directions and into highly evolved complexities, thrash metal has remained rather pure in comparison and the GIZZARD deliver a tasty little interpretation of the classic thrash metal years that date back to the 80s and early 90s although INFEST also finds traces of industrial metal heft a la Rammstein or White Zombie and alternative mood swings into Tool territory at moments. This new metal sound originated on the single “Planet B,” the opening powerhouse that was a stand alone track but somehow inspired the band into crafting an entire album of similar sounding tunes. The biggest surprise is that this album has become one of the band’s most successful of all and has virtually guaranteed another strong decade to come.

Musically, INFEST THE RATS’ NEST is very much a retro tribute to the great thrash bands of yore. The sound delivered here is a mix of Overkill stomp grooves, Metallica induced palm muting techniques for that classic galloping sound along with guitar solos that erupt out of nowhere but there is a veritable garage rock quality to this as none of these guys are exactly virtuosos so don’t expect a Marty Friedman ripping solo quality or even the more sophisticated classically infused Metallica riffs. This is basic thrash by the numbers albeit exquisitely performed and catchy to the max. All in all this will appeal to those on the fringe of the metal universe rather than those already deeply indoctrinated into the long rich history of thrash metal that has remained strong for over three decades now.

While many bands want to be all things to all music appreciators, KING GIZZARD AND THE LIZARD WIZARD succeeded to a certain degree while it took a big chance with INFEST THE RATS’ NEST in the fact that there was a lot of risk of alienating fans of the psychedelic rock albums. However i would venture to guess that one should have no fear that the band has gone Opeth in reverse by dropping its psych qualities in favor of the more bombastic metal style presented on this album. After all, on tracks like “Mars For The Rich” there are still psychedelic keyboard elements that creep into the flow of things and the overtly alternative feel prevents this from feeling “too” thrashy. There’s even a harmonica that makes a cameo on several tracks and the bluesy rock roots of the 70s are still strong, just simply cranked up to 11 at various moments. This is a decent album for sure but honestly this isn’t anything to get wildly excited about either. With all the references to thrash greats like Overkill and Metallica, i’d rather listen to their output any day, however good on the GIZZARD for breaking out of their comfort zone.

SACRED REICH Awakening

Album · 2019 · Thrash Metal
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UMUR
"Awakening" is the 5th full-length studio album by US, Arizona based thrash metal act Sacred Reich. The album was released through Metal Blade Records in August 2019. It´s been 23 years since the release of "Heal" from 1996 and there´s one lineup change compared to the lineup who recorded the predecessor as guitarist Jason Rainey has been replaced by Joey Radziwill. However there have been other significant lineup changes and band status changes in the 23 years between "Heal (1996)" and "Awakening". Drummer Dave McClain left in 1997 to join Machine Head and had a 20 year successful stint with that band, before rejoining Sacred Reich in 2018. While he was gone original drummer Greg Hall returned and filled his shoes. Sacred Reich also had a period of inactivity from 2000-2006. They reunited in 2006 and have played sporadic shows since then, but finally they decided it was also time for a new release.

Considering they´ve had 23 years to write new material (although they weren´t active in all those years), it´s a bit surprising that "Awakening" only features 8 tracks and a total playing time of 31:23. Back in their heyday of the late 80s/early 90s, where it was normal to release an album each or maybe every second year, they were also notoriously known for their slow writing pace. Four albums released from their inception in 1985 to their original disbandment in 2000 pretty much tells that story.

But it´s always about quality over quantity in my book and fortunately Sacred Reich fully deliver on that parameter. Sacred Reich went through some different phases in their original run from aggressive Slayer influenced thrash metal on their 1987 debut album "Ignorance", to a more melodic and varied type of thrash metal on "The American Way (1990)", to the more heavy metal and groove metal influenced "Independent (1993)" and "Heal (1996)", so it´s not easy to know what to expect 23 years down the line.

As it turns out Sacred Reich sounds unmistakably like Sacred Reich on "Awakening". They are as well playing as ever and lead vocalist/bassist Phil Rind sounds pretty great too. His voice has changed a bit over the years and has become a little more hoarse, but he can still hit some high notes when needed. Stylistically "Awakening" is quite the diverse release, featuring both aggressive fast-paced thrash metal tracks (in glimpses the Slayer influence from their debut album has returned), mid-paced heavy tracks (many of them greatly influenced by Black Sabbath), and also quite a bit of melody (the best example of that is the chorus to "Death Valley"). A track like "Killing Machine" (which to my ears is a bit of a gem) also bears a strong traditional heavy metal influence.

So while Sacred Reich are still mostly refered to as a thrash metal act, there is much more to them than that (always has been). In the past they weren´t always successful with their genre experiments, but they hit the nail pretty perfect on "Awakening", which is a strong release throughout. The sound production is raw, organic, and powerful, the musicianship is strong (damn McClain is a great drummer), and the songwriting intriguing and clever. The album requires an open mind and a taste for other music styles than thrash metal, because this is definitely not a 100% thrash metal release, but to those who enjoy high quality heavy music, "Awakening" is a recommendable release. A 3.5 - 4 star (75%) rating is deserved.

CHAOS Violent Redemption

Album · 2013 · Thrash Metal
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siLLy puPPy
As metal music continues to evolve into stranger and more bizarre twisted forms, it seems that the golden years when pure thrash, old school death metal and second wave black metal are relics of a ever distancing past. While some newer bands attempt to go all retro on us and revive those glory years by imitating their favorite classics with a twist or two, more often than not they fall flat on their face than actually summon the metal zeitgeists of the past. It’s even more surprising when a band from a completely foreign culture is that very band that succeeds in achieving the near impossible.

Sounding like a long lost thrash metal classic from the late 80s / early 90s, the foursome known as CHAOS doesn’t come from Florida or even Germany but rather from the unlikely setting of Trivandrum in the state of Kerala, India. Yep, that’s right…. India, a country much more famous for all those colorful and often gaudy Bollywood flicks with high drama soundtracks to match. This band was formed in 2007 but found an amazing affinity with the pure thrash metal from the 87-91 timeline. Think Slayer, Annihilator, Kreator, a touch of Sadus and a huge bunch of early 90s Pantera and you’re on the right track. In fact, if you didn’t know better, you’d swear that this was indeed some long lost classic from some American band from either of the Bay Area scenes (think San Francisco or Tampa).

Having perfected their thrash metal skills, CHAOS was the real deal by winning major competitions and headlining various metal festivals by delivering thrash metal in its purest and most aggressive forms. With the lineup of JK / vocals, Nikhil /guitar, Vishnu / bass and Rohit / drums, this quartet has indeed been India’s answer to Pantera with groove metal hooks, sizzling emotionally fueled leads and that old school thrash metal swagger that has been all but lost as music becomes ever more complex. Even Vektor hasn’t quite mustered up that purity of the past. The band had clearly paid its dues and actually began in 2005 as K.oS before shifting gears into the CHAOS that would torment an unsuspecting culture not accustomed to such sonic terror. CHAOS released this debut album VIOLENT REDEMPTION in 2013, a good 20 years after this style of groove / thrash metal had all but disappeared.

What’s amazing is how perfectly CHAOS pulls off this old style of American thrash metal without missing a beat. The instrumental interplay is outstanding and each track strikes the perfect balance between addictively melodic while pulling no punches with the aggressive speedfests that only deviate a few times such as on “Heaven’s Gate” for a slower passage of clean guitar and atmospheric eeriness. The Pantera influences are abundantly clear and most easily recognized on “Saint” which sports that groove stomp heard on the classic tune “Walk” along with the guitar solos that pay the perfect homage to Dimebag Darrell however CHAOS never takes it too far and in the end sounds like more of a hybrid of some of the more aggressive thrash metal bands of yore including Kreator or Forbidden. With a short running time of just over 32 minutes, CHAOS craft the best classic thrash album i’ve heard in a long time albeit it a couple decades after the party ended.

This is exactly the kind of thrash metal that reminds you how much fun the old school stuff was in its heyday and CHAOS deliver the perfect retro sound that mixes excellent guitar riffing with the bass and drums but ultimately it’s the vocal prowess of JK that clinches the sale for me. His style takes the raspy shouting style of the bigwigs of yore and creates the perfect thrash metal persona. The tracks are fairly short and pack a punch of concentrated riffage that tackles the usual verse, chorus, bridge sort of compositional components and alternates perfectly between shuffles, groove metal riffs and other surprises. There are many metal bands coming from nations like India these days but often they opt to add some ethnic flavors to the mix. Not CHAOS. This band is all about idol worship and do it so well they actually sound better than many thrash metal bands of the era due to the excellent production job. CHAOS is to thrash metal that Russia’s Aria is to Iron Maiden worship. Yes, the influences are worn prominently on their sleeves but when it’s done so damned well as this album is, i really don’t care!

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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