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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_metalWritten by Time Signature.
Sub-genre collaborators (+ child sub-genres & shared with Speed Metal and Groove Metal): - Vim Fuego (leader)
- Nightfly
Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching
EP · 1989 ·
Thrash Metal
UMUR
"Swimming in the Moonlight" is an EP release by Finnish thrash metal act Protected Illusion. The EP was released in October 1989 through the Real Illusion label, which was a label the band set up themselves. It´s the first Protected Illusion release on the label. "Swimming in the Moonlight" succeeds the release of the September "Demo-88" demo and the January 1989 "Opulence and Preservation...Poverty and Desperation..." demo.
The material from the EP has been included on the 2008 "1989-1991: Watching the Wake" compilation album (Marquee Records) which compiles the material from Protected Illusion´s second demo (the "Opulence and Preservation...Poverty and Desperation..." demo), their two EPs (including this one) and their sole full-length studio album "Festering Fairytales" (Real Illusion, July 1990).
Stylistically the material on "Swimming in the Moonlight" pretty much continues the raw, aggressive, and at times even brutal thrash metal style of the "Opulence and Preservation...Poverty and Desperation..." demo, but Protected Illusion have brought more variation and experimental songwriting to the table (the middle section of "Lie on a Bed of Roses" features a Voivod influence). When the band play fastest and most aggressive I´m reminded of the unhinged caustic aggression of early Sadus, but there are a few stomping mid-paced parts on the EP which remind me slightly of early Sabbat (the UK one) too. The material on "Swimming in the Moonlight" is also more technical in style than what came before, and it´s audible that Protected Illusion have evolved as both musicians and composers.
"Swimming in the Moonlight" features a relatively thin sounding production job, but Protected Illusion still manage to sound sharp, intense, and ultra gnarly, so while a bit more bottom end and meaty sounding guitars could probably have made the listening experience even more satisfying, this raw and unpolished sounding production job actually suits the material pretty well.
So upon conclusion "Swimming in the Moonlight" is a good step forwared for Protected Illusion. The band show progress, but their music is still centered around the ultra aggressive and fast-paced thrash metal of the preceding demo. This is for fans of the most fast played, savage, and furiously intense thrash metal out there. As described above Protected Illusion are thankfully a little more than just that, and they succeed in incorporating slightly more experimental musical ideas to their music. As it happens without sacrificing one ounce of energy or aggression it becomes moments of nice variation on an otherwise relentlessly fast-paced and aggressive release. A 3.5 star (70%) rating is deserved.
Demo · 1989 ·
Thrash Metal
UMUR
"Opulence and Preservation...Poverty and Desperation..." is the second demo recording by Finnish thrash metal act Protected Illusion. The demo was independently released in January 1989. It´s the successor to "Demo-88" from September 1988. There´s been a significant lineup change since the first demo as vocalist Sugi has been replaced by Marko Rytkönen. Drummer Jani has also left and has been replaced by Koffi. While the original cassette tape version of the demo is probably close to impossible to find today, the eight tracks from the 18:10 minutes long demo have been included on the 2008 "1989-1991: Watching the Wake" compilation album (Marquee Records) which compiles the material from Protected Illusion´s second demo (which is this one), their two EPs and their sole full-length studio album "Festering Fairytales" (Real Illusion, July 1990).
The addition of Rytkönen and Koffi to the ranks has meant a lot for the sound of Protected Illusion. Rytkönen has a raw snarling and fiercely aggressive vocal style and Koffi is a skilled and fast playing drummer, who drives Protected Illusion´s music forward with great intensity. When they play most fast and aggressive, their music is close to death/thrash metal and artists like Sadus, Dead Head, and Merciless. It´s pretty extreme for the time, but while most of the demo features these gnarly savage tunes, Protected Illusion have also found time and space to include the silly "fun" track "Rap Scappy, Jou!", which isn´t great for the consistency of the demo, but of course it makes the demo a bit more varied.
"Opulence and Preservation...Poverty and Desperation..." features a very raw, unpolished, and trebly sounding production. Most of the time it´s the perfect sound for the savage material, but there are some pretty major flaws in the way the demo is mixed. Most lead guitar parts are completely drowned in the busy and murky soundscape, so it´s not the best demo sound quality. The unhinged aggression and relentless energy of Protected Illusion are two very positive features of the demo though, and the songwriting is relatively memorable too, so upon conclusion "Opulence and Preservation...Poverty and Desperation..." is still a good quality demo from Protected Illusion, showing great progression from the first demo and a 3 - 3.5 star (65%) rating is warranted.
Demo · 1988 ·
Thrash Metal
UMUR
"Demo-88" is the first demo recording by Finnish thrash metal act Protected Illusion. The demo was independently released in September 1988. Protected Illusion formed in 1988 and existed until 1995 when they disbanded. During that time they released five demos, two EPs, and one full-length studio album. The 2008 "1989-1991: Watching the Wake" compilation album (Marquee Records) compiles the material from Protected Illusion´s second demo, their two EPs and their sole full-length studio album "Festering Fairytales" (Real Illusion, July 1990), but for unknown reasons leaves out the material from this demo.
Listening to the quality of "Demo-88" it becomes even more odd that the six tracks from the 18:52 minutes long demo were left off "1989-1991: Watching the Wake", but maybe it´s just a matter of lack of space (the compilation is after all 72:08 minutes long).
Stylistically Protected Illusion play an aggressive, raw, and energy packed type of thrash metal which is in the more brutal end of the scale for a 1988 thrash metal release. It´s not death/thrash by any means, but it´s understandable why many Finnish death metal artists cite Protected Illusion (among other Finnish thrash metal artists like Sacred Crucifix, A.R.G., and Phlegethon...etc.) as an influence on their interest in playing more brutal and extreme music. Protected Illusion would become even more raw and brutal on the next couple of releases, which were arguably even more influential on the burgeoning Finnish death metal scene.
It´s not that the material on "Demo-88" is particularly original or that Protected Illusion at this point had a distinct sound, but they are both well playing and they can certainly write effectful and memorable thrash metal tunes too. "Demo-88" features a well sounding production job. You´re not in doubt that this is a demo recording, but the sound quality is pretty good all things considered. Upon conclusion this is a good quality first demo recording by Protected Illusion and a 3 star (60%) rating is warranted.
EP · 2004 ·
Thrash Metal
martindavey87
‘Some Kind of Monster’ is an EP released by Metallica in 2004 to coincide with the release of their documentary movie of the same name. Originally appearing on 2003’s ‘St. Anger’, an album we’re all familiar with for the wrong reasons, it’s an okay song, but, like a lot of the tracks on that release, it’s quite long, and can tend to drag at times.
But never mind, because we’re also treated to six live tracks that… wait… hold on… these are the same live tracks that appeared on the ‘Unnamed Feeling EP’ which came out seven months earlier!
Okay, so thanks for that Metallica! So basically nothing new here, other than the edited version of ‘Monster’. Pretty sure I could cope without that.
Overall, a pretty pointless EP, which as I said, was only there to tie-in with the movie. They could have at least given us some different live tracks, but ah well. Collectors like me will still snap this up anyway.
Demo · 1990 ·
Thrash Metal
UMUR
"Insomnia" is the eponymously titled first demo recording by Finnish thrash metal act Insomnia. The demo was released through Bad Vugum in 1990. Insomnia formed in 1987 under the Mengele monicker, but after releasing two demos and one EP under the Mengele monicker the band opted to change their name to Insomnia, to escape accusations that they had nazi sympathies. Insomnia released this eponymously titled demo and then folded. In 2002 the band reunited under the Wengele monicker.
Stylistically Insomnia carry on playing the aggressive thrash metal style, which they also performed under the Mengele monicker, but they have matured and are now trying to incorporate a few new musical ideas, but it´s not really working for them. They are arguably best when they play intensely aggressive, highly energetic, and furiously fast-paced thrash metal, which they certainly also do most of the time on this demo. But when they don´t they quickly loose steam, and while "Insomnia" features a more clear and detailed sound production than any of the Mengele releases, it lacks the fierceness and relentless brutality of those releases.
It´s still a good quality thrash metal demo from Insomnia, but I´d listen to the preceding Mengele releases any day before listening to this one. A 3 star (60%) rating is warranted.
Movie · 2004 ·
Thrash Metal
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.
Movie · 1998 ·
Thrash Metal
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.