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
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4.53 | 297 ratings
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MEGADETH Rust in Peace Album Cover Rust in Peace
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4.47 | 248 ratings
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METALLICA Ride the Lightning Album Cover Ride the Lightning
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4.44 | 242 ratings
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ANNIHILATOR Never, Neverland Album Cover Never, Neverland
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4.39 | 84 ratings
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FORBIDDEN Twisted Into Form Album Cover Twisted Into Form
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SEPULTURA Beneath the Remains Album Cover Beneath the Remains
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4.38 | 106 ratings
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ANNIHILATOR Alice in Hell Album Cover Alice in Hell
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4.35 | 94 ratings
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thrash metal Music Reviews

CAVALERA CONSPIRACY Schizophrenia

Album · 2024 · Thrash Metal
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UMUR
"Schizophrenia" is a full-length studio album release by Brazilian death/thrash metal act Cavalera. The album was released through Nuclear Blast in June 2024. It´s a full re-recording of Sepultura´s October 1987 sophomore full-length studio album "Schizophrenia" plus the new original track "Nightmares of Delirium", which closes the album. Normally when the Cavalera brothers work together, they work under the Cavalera Conspiracy monicker (who have released four full-length studio albums), but they opted to release a re-recorded version of Sepultura´s November 1986 "Morbid Visions" debut full-length studio album in July 2023 under the shortened Cavalera name. The Cavalera brothers also re-recorded Sepultura´s December 1985 "Bestial Devastation" EP (or more correctly Sepultura´s part of the "Bestial Devastation / Século XX" split with Overdose). The re-recorded EP was released on the same day the the re-recorded "Morbid Visions" album. Apparently they were so satisfied with the re-recording process that they have now also opted to re-record "Schizophrenia".

The early Sepultura recordings were raw, savage, and unpolished, which are usually descriptors I would praise, but in the case of the early Sepultura recordings I always felt that something was missing, so I´m one of those who think it´s a pretty good idea to release these re-recordings (and I´m usually very much in opposition when artists do re-recordings of full releases). In the case of "Schizophrenia" it´s interesting suddenly to be able to hear all the details of the riffs and drumming, which were buried in the original mess of a sound production. The Cavalera brothers have however not destroyed the album by packing it in a polished and overproduced sound production. They have respect for the original recording, so this is still a pretty raw and hard hitting sound.

"Schizophrenia" features several powerful, fast-paced, and technically well played thrash metal tracks, and it becomes more obvious when listening to the re-recorded version of the album, that Sepultura were actually closer to the sound they would achieve on "Beneath the Remains" (1989), than what the original recording revealed. Upon conclusion this re-recording of "Schizophrenia" will divide the waters as all re-recordings do, but as written above I´m pretty satisfied with the result, and I think a 3.5 star (70%) rating is deserved.

VOIVOD Phobos

Album · 1997 · Thrash Metal
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UMUR
"Phobos" is the ninth full-length studio album by Canadian metal act Voivod. The album was released through Hypnotic Records in in August 1997. It´s the successor to "Negatron" from November 1995 and it´s the second Voivod album featuring the trio lineup of Eric Forrest (lead vocals/bass), Michel "Away" Langevin (drums) and Denis "Piggy" D-Amour (guitars). It´s also the last studio album to feature Forrest, as he was seriously injured in 1998 in a car accident in Germany and subsequently left Voivod in 2000 after a longer recovery period, which saw the band questioning their continued existence. Voivod actually shortly disbanded in 2001, but reunited in 2002 with original lead vocalist Denis "Snake" Bélanger and opted to continue with the band.

Stylistically the material on "Phobos" is a continuation of the heavy, aggressive, and at times almost brutal thrash/groove (with industrial atmospheres) style of "Negatron" and in that respect it´s fair to label the two albums sibling releases. Also because they are the only albums in Voivod´s discography which feature this sound and style. Both "Negatron" and "Phobos" are vastly different in sound to anything else Voivod have released. But that doesn´t mean it´s not unmistakably the sound of Voivod, because "Phobos" (just like "Negatron") still features the dissonant riffs and organic drumming, which are signature elements of Voivod, and of course the sci-fi lyrics and imagery. Forrest is predominantly a raw screaming vocalist, but he does occasionally deliver semi-melodic or less raw vocals (not often but a few times).

So "Phobos" is another heavy, raw, and aggressive release from Voivod featuring a savage and punishing sound production, which further enhances the rawness and heaviness of the material. It´s less surprising than "Negatron" was, and maybe therefore a little less interesting (the novelty of Voivod releases something as raw and heavy as "Negatron" has worn off by now), but on the other hand the material is both well performed, well produced, and well written. Thirteen tracks (including a relatively unnecessary cover of "21st Century Schizoid Man" by King Crimson and three shorter intro/interlude tracks) and a total playing time of 66:22 are a bit much though when the atmosphere and variation of the music aren´t greater than the case is here, and "Phobos" is therefore an album which could have benefitted from a culling. A 3 - 3.5 star (65%) rating is however still warranted.

VOIVOD Negatron

Album · 1995 · Thrash Metal
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UMUR
"Negatron" is the eighth full-length studio album by Canadian metal act Voivod. The album was released through Hypnotic Records/Mausoleum Records in November 1995. It´s the successor to "The Outer Limits" from August 1993 and there´s been a significant lineup change since the predecessor as lead vocalist Denis "Snake" Bélanger has left. As the bass parts on "The Outer Limits" were recorded by session musician Pierre St-Jean, and Voivod had not found a new permanent bassist, they were now both a lead vocalist and a bassist down. Enter lead vocalist/bassist Eric Forrest who along with remaining members Michel "Away" Langevin (drums) and Denis "Piggy" D-Amour (guitars) complete the trio lineup who recorded "Negatron". Voivod would work in this trio constellation (and also release the 1997 "Phobos" album) until 1998 when Forrest was severely injured in a car accident in Germany. During his recovery period the remaining members of the band felt that they weren´t able to continue and after Forrest left in 2000, Voivod shortly disbanded in 2001.

But´s that´s of course getting way ahead of the story, as the new trio lineup in 1994/1995 was a breath of fresh air and a new start for Voivod, who did taste limited commercial success with their three preceding major label releases, but never really broke through to the mainstream. "Negatron" signals the return to a much more harder edged and aggressive style of music, and it´s probably the most heavy, angry, and punchy release from Voivod up until then. While Forrest on occasion can deliver semi-clean melodic vocals (the chorus on "Nanoman" is the best example of that), he predominantly delivers raw screaming vocals and as the riffs and rhythms are also heavy, brutal, and hard edged, Voivod have never sounded more potent. When "Negatron" was released I remember being a bit baffled by the change of musical style and if you compare the psychedelic tinged progressive metal of "The Outer Limits" with the brutal thrash/groove metal (spiced up with some industrial tinged atmospheres) assault of "Negatron" it almost sounds like it´s two different bands playing.

That´s of course not the case and if you listen a bit more closely it´s still unmistakably Voivod playing. The signature dissonant riffs are in place, and so are the organic drumming, and the sci-fi themed lyrics and image. So it´s mostly the more raw vocals and the increased heaviness of the music, which make "Negatron" a different listening experience to the earlier material by the band. "Negatron" features a raw, heavy, and punishing sounding production, and it´s the perfect sound production for the equally raw and heavy material.

The eleven tracks, 57:24 minutes long album opens with the strong trio of songs: "Insects", "Project X" and "Nanoman". The latter being the melodic highlight of the album and one of the only times Voivod sound slightly like they did on the last couple of albums. But from there the tracks become harder and harder to tell apart and remember. It´s not that the rest of the tracks are of a poor quality or anything like that and listened to individually they are actually quite enjoyable and powerful material, but as a full album listening experience there´s not enough variation between the tracks. When Voivod try something a bit different they aren´t necessarily successful either. The closing track "D.N.A (Don't No Anything)" is for example a track where Voivod go all the way into industrial metal territory and it´s quite a tedious listening experience. It´s not a good way to end an otherwise decent album and I find that I have more fond memories of "Negatron" when I simply stop the album before "D.N.A (Don't No Anything)" and imagine that "Drift" is the last track on the album.

Upon conclusion "Negatron" is another unique release in Voivod´s discography. It´s harsh, heavy, and aggressive (and not nearly as progressive as it´s direct predecessor), which may turn off some of the fans of the last couple of releases, but while the abrasive nature of the sound production, the relentless aggression of the material can be a bit hard on the ears, and the album overall lacks a bit in the variation department, it´s still overall a good quality release from Voivod, showing their most heavy and brutal side. A bit unexpected upon release but with time I´ve learned to appreciate "Negatron" more and it´s overall a nice addition to Voivod´s discography. A 3 - 3.5 star (65%) rating is deserved.

TESTAMENT First Strike Still Deadly

Boxset / Compilation · 2001 · Thrash Metal
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UMUR
"First Strike Still Deadly" is an album release by US, California based thrash metal act Testament. The album was released through Spitfire Records in October 2001. The album features re-recordings of select tracks from the band´s first two albums "The Legacy (1987)" and "The New Order (1988)" (five tracks from each album) and a re-recording of "Reign of Terror". The latter was originally featured on the band´s "Demo 1 (1985)" (released under the Legacy monicker before the band changed their name to the current one). The track was later featured in a studio version as the B-side to the "Trial by Fire (1988)" single. The same version of the track was also featured on the 1993 "Return to the Apocalyptic City" EP. The version of "Reign of Terror" which is featured on "First Strike Still Deadly" features vocals by original Legacy (and later Exodus) singer Steve Souza. Souza also performs vocals on "Alone in the Dark", which was also featured on "Demo 1 (1985)" (and later in a re-recorded studio version on "The Legacy (1987)"). The vocals on the remaining tracks on the album are performed by regular Testament singer Chuck Billy. "First Strike Still Deadly" sees the temporary return of Alex Skolnick (lead guitars), Steve DiGiorgio (bass), and John Tempesta (drums).

Bands can have several reasons for re-recording "hits" or even full releases, but the most common reason is that they don´t own the rights to the original recordings, and rightfully want a piece of the cake. In the case of Testament that´s fully understandable (if that was the reason for the re-recording) as "The Legacy (1987)" and "The New Order (1988)" are arguably among their most popular and commercially successful releases. The problem with most (not all) re-recordings is that re-recordings of classic tracks are often overproduced, lack the rawness of the original recordings, and even worse lack the hunger and attitude, which you experience when you listen to the originals...unfortunately that´s true for "First Strike Still Deadly" too.

No one can deny that the album is filled to the brim with classic thrash metal tracks and that Testament can perform those tracks in their sleep, but unfortunatley it all sounds phoned it, completely lacking of power and conviction. Normally badass tracks like "Into the Pit", "Trial by Fire", and "The Haunting" sound so tame and domesticated that it´s almost painful listening to them. Skolnick is also given too much freedom and some of his guitar solos are given a slight jazz/fusion spin which really doesn´t fit the compositions. The sound production doesn´t save anything either, as it´s dry, lacking dynamics, and well...sounds cheap. So I´m afraid this one goes down in the books as a bad quality re-recording. It´s completely unneccesary too for fans of the band and I´m left wondering what the hell happened in the decision making process. It´s definitely the low point of Testament´s otherwise great discography. A 2.5 star (50%) is me being very generous.

TESTAMENT The Gathering

Album · 1999 · Thrash Metal
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UMUR
"The Gathering" is the eighth full-length studio album by US, California based thrash metal act Testament. The album was released through Spitfire/ Burnt Offerings in June 1999. It´s the successor to "Demonic" from 1997. "The Gathering" features an all-star lineup, which in addition to the usual suspects in lead vocalist Chuck Billy and guitarist Eric Peterson, also contains James Murphy who returns on guitar, Steve DiGiorgio on bass, and Dave Lombardo on drums. Each of them prolific and skilled musicians associated with artists like Grip Inc., Death, Slayer, Sadus, and Obituary.

The music on "The Gathering" is powerful and technically well performed thrash metal. Testament brought with them the good powerful elements from "Demonic", which means the raw power and drive of that album, and then added a more melodic touch, which points back to their sound of the 80s ("True Believer" could for example well have been featured on one of the late 80s/early 90 releases by the band). The slightly more melodic touch and the fact that Billy also delivers a more diverse vocal performance (although at times still pretty brutal and raw) give the songs a more memorable sound than the tracks on "Demonic". The addition of Dave Lombardo on the drums especially provides the music with a great organic touch. He is on fire on this album. The songs are generally high quality thrash metal compositions and "The Gathering" is overall a good quality Testament album (they´ve released both better and worse).

The album features a sound production which is powerful, raw, and heavy, and it suits the music perfectly. It´s courtesy of Andy Sneap, who would return to produce quite a few of Testament´s subsequent releases. Upon conclusion "The Gathering" was the right album to release after "Demonic" alienated some fans with it´s relentless aggression and brutality. Coming from a death metal background I never felt "Demonic" more than leaned towards death metal, and to my ears it´s still a Testament thrash metal album, just a little heavier and darker than their usual style. "Demonic" however lacked a couple of other things to make it a complete release. What I missed on "Demonic" was guitar solos and the more melodic and memorable moments of earlier Testament albums, and although there aren´t that many guitar solos on "The Gathering" either, the melodic element is more prevalent here than it was on "Demonic". So on "The Gathering" the brutality and heavy riffs are just more well balanced with the tried and true Testament elements. A 3.5 (70%) rating is deserved.

thrash metal movie reviews

MEGADETH Megadeth - VH-1 Behind the Music Extended

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

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

METALLICA Some Kind of Monster

Movie · 2004 · Thrash Metal
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martindavey87
‘Some Kind of Monster’ is an interesting look at the personal problems that arise amongst band members after having worked together throughout careers that span decades. The biggest rock band in the world is on the verge of breaking up, with one member leaving, one member in rehab and one member being the most hated man in music. It’s compelling viewing, that’s for sure.

However, it’s been often stated that this will appeal to Metallica fans and non-fans alike, and I do consider that a bit of an overstatement. I’m a huge, huge die-hard fan of the band, but at two hours and 10 minutes in duration, and a couple of hours of extra material, even I find this quite a tedious viewing at times.

Essentially, it boils down to the egos of two men, James and Lars, and goes on to become nothing more than “Temper Tantrum: The Movie”. Still, it’s always fun and interesting to see what musicians I admire get up to when they’re not on stage. The process of recording their 2003 dud of album ‘St. Anger’, what they do in their spare time, the auditions for a new bass player and the endless promotional events they partake in.

While this isn’t essential viewing to the average movie-goer, fans of the band will enjoy this stripped and bare movie that shows that even rich and famous rock stars have egos and emotions, and the tolls that that stardom takes on them.

METALLICA Classic Albums: Metallica - Metallica

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

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

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

METALLICA The Videos 1989-2004

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

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

METALLICA Cunning Stunts

Movie · 1998 · Thrash Metal
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martindavey87
It feels like a lifetime ago that I bought this DVD! Back in 2002, at the impressionable age of 15, this was such an awe-inspiring show to watch. Metallica were (and still are) so much larger than life, and everything about this home video release was amazing.

The main show, despite being at the peak of Metallica’s mid-90’s alternative rock era, shows a band who could rock out with the best of them, and while the set list may not hold up amazingly well by today’s standards, it’s still brimming with heavy metal and hard rock anthems.

There’s an abundance of extras that show the behind-the-scenes process of the show and it’s titular stunts, and the pre-show footage is a blast to watch, so much so, that lurking somewhere out there is a home video my friends and I (all aged 15 and in our first band) made of us embarrassingly recreating many of the scenes.

While Metallica has certainly released better home videos and DVD’s, ‘Cunning Stunts’, with its top notch sound and picture, and brimming with fantastic visuals, still holds up just as well today as it did 20 years ago.

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