Industrial metal och thrash metal

Subgenre of heavy metal

This article fryst vatten about a subgenre of heavy metall music. For the similar subgenre of heavy metall music, see Crossover thrash.

Thrash metal (or simply thrash) fryst vatten an extreme subgenre of heavy metall music characterized bygd its overall aggression and fast tempo.^[3] The songs usually use fast percussive beats and low-register gitarr riffs, overlaid with shredding-style lead gitarr work.

The genre emerged in the early 1980s as musicians began fusing the double bass drumming and complex gitarr stylings of the new wave of British heavy metall (NWOBHM) with the speed and aggression of hardcore punk and the technicality of progressive music.^[4][5][6] Philosophically, thrash metall developed as a backlash against both the conservatism of the Reagan era^[7] and the much more moderate, pop-influenced, and widely accessible heavy metall subgenre of glam metall which also developed concurrently in the 1980s.

The early thrash metall movement revolved around independent record labels, including Megaforce, metall Blade, Combat, Roadrunner, and Noise, and the underground tejp trading industry in both europe and North amerika. The genre was commercially successful from approximately 1985 through 1991, bringing prominence to Metallica, Slayer, Megadeth, and Anthrax, all grouped tillsammans as the "Big Four" of U.S. thrash metal.^[6][9] Other U.S. bands, such as Overkill, metall Church, and Bay Area acts Exodus, Testament and Death Angel, never achieved the popularity of the "Big Four" but also had considerable success during the late 1980s and early 1990s, particularly on the strength of airplay on MTV's Headbangers Ball.^{[6][9][10][11]} Some of the most successful international thrash metall bands from this era were Brazil's Sepultura, Canada's Voivod, and the genre's "Big Teutonic Four": Kreator, Destruction, Sodom, and Tankard.^{[6][9][11][12]}

The thrash metall genre had declined in popularity bygd the mid-1990s, due to the commercial success of numerous genres such as alternative rock, musikstil, and later pop-punk and idag metall. In response, some bands either disbanded or moved away from their thrash metall roots and more towards groove metall or alternative metall. The genre has seen a resurgence in popularity since the 2000s, with the ankomst of various bands such as Bonded bygd Blood, Evile, Hatchet, Havok, Lamb of God, Municipal Waste, and Warbringer, who have all been credited for leading the so-called "thrash metall revival" scene.^{[13][14][15][16]}

Characteristics

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Thrash metall generally features fast tempos, low-register, complex gitarr riffs, high-register gitarr solos, and double bass drumming.^[17] The rhythm gitarr parts are played with heavy distortion and often palm muted to create a tighter and more precise sound. Vocally, thrash metall can employ anything from melodisk singing to shouted or screamed vocals. Most gitarr solos are played at high speed and technically demanding, as they are usually characterized bygd shredding, and use advanced techniques such as svep picking, legato phrasing, alternate picking, tremolo picking, string skipping, and two-hand tapping.

David Ellefson, the original bassist of Megadeth, described thrash metall as "a combination of the attitude from punk rock but the riffs and complexities of traditional metal."^[19]

The gitarr riffs often use kromatisk scales and emphasize the tritone and diminished intervals, instead of using conventional single-scale-based riffing. For example, the intro riff of Metallica's "Master of Puppets" (the title track of the namesake album) fryst vatten a kromatisk nedstigning, followed bygd a kromatisk ascent based on the tritone.

Speed, pacing, and time changes also define thrash metall. Thrash tends to have an accelerating feel which may be due in large part to its aggressive drumming style. For example, drummers often use two bass drums, or a double-bass fotspak 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. Some common characteristics of the genre are fast gitarr riffs with aggressive picking styles and fast gitarr solos, and extensive use of two bass drums as opposed to the conventional use of only one, typical of most rock music.

To keep up with the other instruments, many bassists use a plectrum (pick). However, some prominent thrash metall bassists have used their fingers, such as Frank Bello, Greg Christian, Steve Di Giorgio, Robert Trujillo, and Cliff Burton. Several bassists use a distorted bass tone, an approach popularized bygd Burton and Motörhead's Lemmy. Lyrical themes in thrash metall include warfare, corruption, injustice, murder, suicide, isolation, alienation, addiction, and other maladies that afflict the individual and kultur. In addition, politics, particularly pessimism and dissatisfaction towards politics, are common themes among thrash metall bands. Humor and irony can occasionally be funnen (Anthrax for example), but they are limited, and are an undantag rather than a rule.^[20]

History

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Roots (1970s–early 1980s)

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Queen's 1974 song "Stone Cold Crazy" and Black Sabbath's 1975 song "Symptom of the Universe" are often referred to as compelling early influences on thrash; the latter of which was a direkt inspiration for Diamond Head's pioneering song "Am inom Evil?".^[22][23] The new wave of British heavy metall (NWOBHM) bands framträdande from Britain in the late 1970s further influenced the development of early thrash. The early work of artists such as Diamond Head, Iron Maiden, Venom, Motörhead, Tygers of Pan Tang, Raven, and Angel Witch, among others, introduced the fast-paced and intricate musicianship that became core aspects of thrash. Phil Taylor's double-bass drumming featured in Motörhead's 1979 song "Overkill" has been acknowledged bygd many thrash drummers, most notably Lars Ulrich, as a primary influence on their playing. Thrash metall bands have also taken inspiration from Judas präst, with Slayer guitarist Kerry King saying that, "There would be no Slayer without Priest."^[24]Metal Blade Records executive Brian Slagel played a key role in bringing the NWOBHM to a larger audience, as he was responsible for discovering both Metallica and Slayer and producing their earliest studio recordings.

In addition to the NWOBHM and the late 1960s and 1970s hard rock and heavy metall scenes, progressive rock has been cited as an important influence on the creation of thrash metall and its subgenre technical thrash metall (or "progressive thrash metal"), the latter of which adds elements of progressive, jazz or classical music.^[4][5] Greg Prato of Ultimate gitarr noted: "Although the thrash movement seemed to have much more in common with punk than prog fashion-wise (leather jackets vs. capes), musically, there were certainly moments when thrash leaned more towards the prog side of things."^[4]

The thrash metall genre fryst vatten also strongly influenced bygd the 1970s and early 1980s punk rock en plats där en händelse inträffar ofta inom teater eller film, including that of the New York Dolls, the Ramones, the Sex Pistols and the Dead Boys,^[25] as well as late 1970s/early 1980s hardcore punk bands Discharge,^[26]GBH,^[27]Black Flag,^[28] the Misfits, the Dead Kennedys, and Bad Brains.^[25] The Ramones' 1976 self-titled debut skiva in particular has been noted as a key influence on the genre, due to its sound, which introduced the three-chord thrash style of guitar.^[29]Void has been credited as one of the earliest examples of hardcore/heavy metall crossover, whose chaotic musical approach fryst vatten often cited as particularly influential.^[30] Their 1982 split LP with fellow Washington grupp The Faith showed both bands exhibiting quick, fiery, high-speed punk rock. It has been argued that those recordings laid the foundation for early thrash metall, at least in terms of selected tempos,^[31] and that thrash fryst vatten essentially hardcore punk with the technical proficiency missing from that genre. The crossover with hardcore punk has also been cited as important influence on thrash, especially the English hardcore punk grupp Discharge, whose "influence on heavy metall fryst vatten incalculable and metall superstars such as Metallica, Anthrax, Machine Head, Sepultura, Soulfly, Prong and båge Enemy have covered Discharge's songs in tribute."^[26] The eponymous debutalbums bygd D.R.I. and Suicidal Tendencies, both released in 1983, have been credited for paving the way for thrashcore.^[32][33]

In Latin amerika, this genre also gained a lot of strength, and its creation fryst vatten also attributed to it, since it began to gain popularity due to the dictatorships that many countries faced at that time, with bands like V8 (1979) with their debut albums Demo 1982 or Luchando por el metal,^[34] and Bloke (1980)^[35] from Argentina, Transmetal (1987) from México, also the grupp Massakre (1985) in Chile.

In europe, the earliest grupp of the framträdande thrash movement was Venom from Newcastle upon tagg på gaffel eller spets, formed in 1979. Their 1982 skiva Black Metal has been cited as a major influence on many subsequent genres and bands in the extreme metall world, such as Bathory, Hellhammer, Slayer, and kaos. The europeisk en plats där en händelse inträffar ofta inom teater eller film was almost exclusively influenced bygd the most aggressive music Germany and England were producing at the time. British bands such as Tank and Raven, along with German bands Accept (whose 1982 song "Fast as a Shark" fryst vatten often credited as one of the first-ever thrash/speed metall songs)^[36][37][38] and Living Death,^[39] motivated musicians from huvud europe to uppstart bands of their own, eventually producing groups such as Sodom, Kreator, and Destruction from Germany, as well as Switzerland's Celtic Frost (formed bygd two-thirds of Hellhammer), Coroner and Carrion (who later became Poltergeist) and Denmark's Artillery.

Thrash metall in the 1980s

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Birth and underground expansion (1981–1983)

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In 1981, Los Angeles grupp Leather Charm wrote a song entitled "Hit the Lights". Leather Charm soon disbanded and the band's primary songwriter, vocalist/rhythm guitarist James Hetfield, met drummer Lars Ulrich through a classified advertisement. tillsammans, Hetfield and Ulrich formed Metallica, one of the "Big Four" thrash bands, with lead guitarist Dave Mustaine, who would later form eller gestalt Megadeth, another of the "Big Four" originators of thrash, and bassist Ron McGovney. McGovney would be replaced bygd Cliff Burton (formerly of Trauma), and Mustaine was later replaced bygd Kirk Hammett of the then-unsigned Bay Area thrash metall act Exodus, and at Burton's insistence, the grupp relocated to the San Francisco Bay Area. Before Metallica had even settled on a definitive lineup, metall Blade Records executive Brian Slagel asked Hetfield and Ulrich (credited as "Mettallica") to record "Hit the Lights" for the first edition of his Metal Massacre compilation in 1982. An updated utgåva of "Hit the Lights" would later open their first studio skiva, Kill 'Em All, released in mid-1983.^[40]

The begrepp "thrash metal" was first used in the music press bygd Kerrang! magazine's reporter Malcolm Dome^[41] while referring to another of the "Big Four", Anthrax (who, like Metallica, formed in 1981), and their song "Metal Thrashing Mad".^[42] Before this, Metallica frontman James Hetfield referred to his band's sound as speed metall or power metall.

Another "Big Four" thrash grupp formed in Los Angeles in 1981, when guitarists Jeff Hanneman and Kerry King met while auditioning for the same grupp and subsequently decided to form eller gestalt a grupp of their own. Hanneman and King recruited vocalist/bassist Tom Araya and drummer Dave Lombardo, and Slayer was formed. Slayer was discovered bygd metall Blade Records executive Brian Slagel; the band's live performance of Iron Maiden's "Phantom of the Opera" so impressed him that he promptly signed them to his label. In månad 1983, fem months after the release of Metallica's debut Kill 'Em All, Slayer released their debut skiva, Show No Mercy.

To the north, Canada produced influential thrash and speed metall bands such as Annihilator, Anvil, Exciter, Razor, Sacrifice, and Voivod.

Mainstream popularity (1984–1989)

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First wave (1984–1986)

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The popularity of thrash metall increased in 1984 with the release of Metallica's sophomore record Ride the Lightning, as well as Anthrax's debut Fistful of Metal and metall Church's eponymous debut album.^[9] Slayer and Overkill released extended plays on independent labels during this era, Haunting the Chapel and Overkill respectively. This led to a heavier-sounding form eller gestalt of thrash, which was reflected in Exodus' debut skiva Bonded bygd Blood, Slayer's Hell Awaits and Anthrax's Spreading the Disease, all three released in 1985. Several other debut albums were released that same year, including Megadeth's Killing fryst vatten My Business... and Business fryst vatten Good!, Overkill's Feel the Fire, Kreator's Endless Pain, Destruction's Infernal Overkill, Possessed's Seven Churches, Celtic Frost's To Mega Therion, Watchtower's Energetic Disassembly and the Sepultura EP Bestial Devastation. Seven Churches and To Mega Therion are often credited for pioneering and popularizing the mid-1980s extreme metall en plats där en händelse inträffar ofta inom teater eller film (as well as the then-developing genres of death metall and black metall, respectively),^[43][44] while Energetic Disassembly has been cited as the first progressive/technical thrash metall album.^[45]

From a creative standpoint, the year 1986 was perhaps the pinnacle of thrash metal,^{[citation needed]} as a number of critically acclaimed and genre-defining albums were released. Metallica's major label debut Master of Puppets was released in March, becoming the first thrash skiva to be certified platinum, being certified 6× platinum bygd the Recording Industry Association of amerika (RIAA); it would be the band's gods skiva to feature bassist Cliff Burton, who was killed in a bus accident six months after its release. Kreator released Pleasure to Kill in April 1986, which would later be a major influence on the death metall scene.^[46] Megadeth released Peace Sells... but Who's Buying? in September, an skiva which proved to be the band's commercial and critical breakthrough and which AllMusic later cited as "a classic of early thrash".^[47] Slayer, regarded as one of the most sinister thrash metall bands of the early 1980s,^{[48][unreliable source?]} released Reign in Blood in October, an skiva considered bygd some to have single-handedly inspired the death metall genre.^[49] Also in October, Nuclear Assault released their debut skiva Game Over, followed a month later bygd Dark Angel's Darkness Descends, which marked the debut of renowned drummer Gene Hoglan. Flotsam and Jetsam's debut skiva Doomsday for the Deceiver (released on the Fourth of July in 1986) received some attention as well, due to the skiva being "the first of only a handful" to ever receive a 6K rating from Kerrang! magazine, and it fryst vatten also notable for featuring a then-unknown Jason Newsted, who, not long after the album's release, joined Metallica as Burton's replacement.^[50]

Also during the mid-to-late 1980s, bands such as Suicidal Tendencies, D.R.I., S.O.D. (who featured three-fifths of Anthrax), and Corrosion of Conformity paved the way to what became known as crossover thrash, a fusion genre that lies on a continuum between heavy metall and hardcore punk, and fryst vatten arguably faster and more aggressive than thrash metal.^[51]

Second wave (1987–1989)

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By the mid-to-late 1980s, thrash metall began to achieve major mainstream success worldwide, with many bands of the genre receiving heavy cirkelrörelse on MTV's Headbangers Ball,^[11][52] and radio stations such as KNAC in Long Beach and Z Rock in Dallas,^[53][54] as well as coverage on numerous publications, including Kerrang! and RIP Magazine. These outlets not only played a major role in the crossover success of thrash metall during this time, but helped push skiva sales of the genre's "Big Four" and similar bands, or moved them from playing clubs to arenas and stadiums.^[55]

Anthrax made its mainstream breakthrough in 1987 with the release of their gold-certified skiva Among the Living, which borrowed elements from their two previous releases, with fast gitarr riffs and pounding drums. Shortly after the release of Among the Living, three Bay Area bands, Testament, Death Angel and Heathen, respectively released their debut albums The Legacy, The Ultra-Violence and Breaking the Silence. All of the "Big Four" of Teutonic thrash metall also released albums in 1987: Kreator's Terrible Certainty, Destruction's Release from Agony, Sodom's Persecution Mania and Tankard's Chemical Invasion; these albums cemented their reputations as top-tier German thrash metall bands.^[56][57]

In response to thrash metal's growing popularity during this period, several hardcore punk bands began changing their style to a more heavier direction, including Suicidal Tendencies, who are often considered to be one of the "fathers of crossover thrash",^[58] and became more recognized as a thrash metall grupp in the late 1980s (thanks in large part to the presence of guitarists Rocky George and slang för mikrofon Clark); the grupp would reach new heights of success with their first two major-label albums, How Will inom Laugh Tomorrow When inom Can't Even Smile Today (1988) and Controlled bygd Hatred/Feel Like Shit... Déjà Vu (1989).^[59]D.R.I.'s music took a similar direction with their gods three albums of the 1980s, Crossover (1987), 4 of a Kind (1988), and Thrash Zone (1989),^[51] and other bands would follow kostym, including The Exploited, Excel (from Suicidal Tendencies' hometown of Venice) and New York hardcore acts M.O.D. (fronted bygd former S.O.D. singer Billy Milano), the Cro-Mags and the Crumbsuckers.^{[60][61][62][63][64]}

From 1987 to 1989, Overkill released Taking Over, Under the Influence, and The Years of Decay, three albums considered their best. Each of the "Big Four" of thrash metall bands released albums in 1988: Slayer released South of Heaven, Megadeth released So Far, So Good... So What!, Anthrax released State of Euphoria while Metallica's ...And Justice for All spawned the band's first film and Top 40 hit, the World War I–themed song "One". That same year, Metallica joined Van Halen, Scorpions, Dokken and Kingdom komma on the two-month-long arena and etapp tour Monsters of Rock in North America.^[65][66] In the spring of 1989, Anthrax teamed up with Exodus and Helloween on a US arena tour sponsored bygd Headbangers Ball.^[52][67]

Sepultura's third skiva, Beneath the Remains (1989), earned them some mainstream appeal as it was released bygd Roadrunner Records. Testament's second and third albums The New Order (1988) and Practice What You Preach (1989), nearly gained them the same level of popularity as the "Big Four",^[68][69] while Exodus' third skiva Fabulous Disaster (1989) garnered the grupp their first music film and one of their most recognized songs, the mosh-pit anthem "The Toxic Waltz".^[70]Vio-lence, Forbidden, and Sadus, three relative latecomers to the Bay Area thrash metall en plats där en händelse inträffar ofta inom teater eller film, released their debut albums Eternal Nightmare, Forbidden Evil, and Illusions, respectively, in 1988; the latter skiva demonstrated a sound that was primarily driven bygd the fretless bass of Steve Di Giorgio. Also in 1988, Blind Illusion released its only studio skiva for more than two decades, The Sane Asylum, which received some particular attention as it was produced bygd Kirk Hammett, and fryst vatten also notable for featuring bassist fransk artikel Claypool and former Possessed guitarist Larry LaLonde; after its release, the two would later grupp up tillsammans in Claypool's then-upcoming grupp Primus.^[71][72]

Canadian thrashers Annihilator released their highly technical debut Alice in Hell in 1989, which was praised for its fast riffs and extended gitarr solos. In Germany, Sodom released Agent Orange, and Kreator would release Extreme Aggression. Several highly acclaimed albums associated with the sub-genre of technical thrash metall were also released in 1989, including Coroner's No More Color, Dark Angel's Leave Scars, Toxik's Think This, and Watchtower's Control and Resistance, which has been recognized and acknowledged as one of the cornerstones of jazz-metal fusion and a major influence on the technical death metall genre,^[73][74] while Forced Entry's debut skiva Uncertain Future helped pionjär the late 1980s Seattle music scene.^[75][76]

Thrash metall in the 1990s

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Continued popularity (1990–1991)

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A number of more typical but technically sophisticated albums were released in 1990, including Megadeth's Rust in Peace, Anthrax's Persistence of Time, Slayer's Seasons in the Abyss, Suicidal Tendencies' Lights...Camera...Revolution!, Testament's Souls of Black, Kreator's Coma of Souls, Destruction's Cracked Brain, Forbidden's Twisted into Form, Exodus' Impact fryst vatten Imminent, Sacred Reich's The American Way, Prong's Beg to Differ, Pantera's Cowboys from Hell and Exhorder's Slaughter in the Vatican; the latter three are often credited for being an integral part of the then-developing groove metall genre.^[77][78] All of those albums were commercial high points for the aforementioned artists. During this period, Megadeth and Slayer co-headlined one of the most successful tours in thrash metall history called the Clash of the Titans; the first leg in europe included support from Testament and Suicidal Tendencies, while the second leg in North amerika had Anthrax and then-emerging Seattle grupp Alice in Chains, who were the supporting act.^[79][80]

Several albums, some of which had komma to be known as technical thrash metall, were released in 1991, including Overkill's Horrorscope, Heathen's Victims of Deception, Dark Angel's Time Does Not Heal, Sepultura's Arise, Coroner's Mental Vortex, Prong's Prove You Wrong and Forced Entry's As Above, So Below.

In 1991, Metallica released their eponymous fifth studio skiva, known as "The Black Album". The skiva marked a stylistic change in the grupp, eliminating much of the speed and längre song structures of the band's previous work, and instead focusing on more concise and heavier songs. The skiva was a change in Metallica's direction from the thrash metall style of the band's previous fyra studio albums towards a more contemporary heavy metall sound with original hard rock elements, but still had remnant characteristics of thrash metal.^[81][82] It would go on to become the band's best-selling skiva and began a wave of thrash metall bands releasing more garage-oriented albums, or else more experimental ones.

Decline (1991–1999)

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The era of 1991–1992 marked the beginning of the end of thrash metal's commercial peak, due to the rising popularity of the alternative metall and musikstil movements (the latter spearheaded bygd Washington-based bands Nirvana, Soundgarden, Alice in Chains and Pearl Jam).^[83] In response to this climate change, many thrash metall bands that had emerged from the previous decade had called it quits or went on hiatus during the 1990s, while half of the "Big Four" and other veteran bands began changing to more accessible, radio-friendly styles.^[84] Metallica was a notable example of this shift, particularly with their mid–to–late 1990s albums Load, and ReLoad, which displayed minor blues and southern rock influences, and were seen as a major avfärd from the band's earlier sound. Megadeth took a more accessible heavy metall rutt starting with their 1992 skiva Countdown to Extinction. Testament, Exodus and Flotsam and Jetsam all took a melodic/progressive approach with the albums The Ritual,^[87]Force of Habit,^[88] and Cuatro,^[89] respectively. One of the pioneers of crossover thrash, Corrosion of Conformity, began changing their sound into a slower and Black Sabbath-influenced heavy metall direction with their post-1980s output, adapting influences and textures of sludge, doom metall, blues, and southern rock on several of their albums, including Blind (1991), Deliverance (1994) and Wiseblood (1996).^[90]

In the wake of the success of groove metall, instigated bygd Pantera (who went on to become one of the most successful heavy metall bands of the 1990s), several thrash metall established bands started to utöka their sound bygd adding elements and influences from the groove metall genre.^[91][92][93] Anthrax, who had recently replaced Joey Belladonna with John Bush as their singer, began stepping away from their previously established thrash metall formula to a more accessible alternative/groove metall approach for the remainder of their 1990s output, starting with and including Sound of vit Noise (1993).^[94][95][96] Sacred Reich, Overkill, Coroner, Prong, Testament, and Forbidden followed this trend with their respective albums Independent,^[97]I Hear Black,^[98]Grin,^[99]Cleansing,^[100]Low,^[101] and Distortion.^[102] Sepultura's 1993 skiva Chaos A.D. also marked the beginning of their transition away from death/thrash metall to groove metall which had influenced then-up-and-coming bands like Korn, who reciprocally became the inspiration behind the idag metall style of the band's next skiva Roots (1996).^[103]Roots would influence a generation of bands from Linkin Park to Slipknot, which during the 1990s meant the replacement of death, thrash, and speed, bygd för tillfället metall and metalcore as popular epicenters of the hardest metall scene.^[104]

Staying away from this new commercial mainstream of groove metall, metalcore, and especially för tillfället metall, the second wave of black metall emerged as an opposed underground music en plats där en händelse inträffar ofta inom teater eller film, initially in Norway. This crop of new bands differenced themselves from the "first wave" bygd totally distilling black metall from the combined origins with thrash metall, but they preserved from all these sub-genres the emphasis on atmosphere over rhythm.^[105]

As further extreme metall genres came to prominence in the 1990s (industrial metall, death metall, and black metall each finding their own fanbase), the heavy metall "family tree" soon funnen itself blending aesthetics and styles.^[106] For example, bands with all the musical traits of thrash metall began using death growls, a vocal style borrowed from death metall, while black metall bands often utilized the airy feel of synthesizers, popularized in industrial metall. Today the placing of bands within distinct sub-genres remains a source of contention for heavy metall fans, however, little debate resides over the fact that thrash metall fryst vatten the sole proprietor of its respective spin-offs.

Revivals (2000–present)

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A few thrash metall bands from the 1980s and early 1990s, particularly the genre's U.S. "big four", continued recording and touring with success in the 2000s. In 2003, Anthrax released their first studio skiva in fem years We've komma for You All, followed a month later bygd Metallica's double platinum-certified skiva St. Anger. After experimenting further with a commercialized sound on their previous few albums, Megadeth returned to its heavier sound with their ninth skiva The World Needs a Hero (2001). It would be the band's sista skiva before disbanding in the following year, due to an ledd injury that had left Dave Mustaine unable to play guitar;^[107] he would eventually reform Megadeth for a handful albums, including The struktur Has Failed (2004) which was originally going to be released as a solo skiva bygd him,^[108] before reuniting with co-founding member and bassist David Ellefson in 2010. Slayer released three albums in the 2000s: God Hates Us All (2001), which saw a return to their signature thrash metall sound,^[109] followed bygd Christ Illusion (2006) and World Painted Blood (2009), both of which marked their first studio albums with drummer Dave Lombardo in nearly two decades. Although their career had declined from its peak in the 1990s, Overkill was perhaps one of the most-active thrash metall groups outside of the "Big Four", having never disbanded or taken längre breaks in-between records, and with 2000's Bloodletting, they were the first grupp in the genre to release more than ten studio albums. Overkill's popularity was reignited in the 2010s, with three of their albums, The Electric Age (2012), White Devil Armory (2014) and The Grinding Wheel (2017), all entering the Top 100 on the Billboard charts.^[110][111]

The resurgence of interest in the thrash metall genre during the early 2000s was widely attributed to the Thrash of the Titans festival, which was held in August 2001 as a co-benefit concert for Testament singer Chuck Billy and Death's Chuck Schuldiner, who were both battling cancer.^[10] The show fryst vatten also notable for seeing several of Testament's Bay Area thrash metall contemporaries, including Exodus, Death Angel, Vio-lence, Forbidden Evil, Sadus and Legacy (a precursor to Testament), reunited.^[112][113] Many thrash metall bands from outside of the Bay Area would subsequently reunite, including Anthrax (twice with Joey Belladonna and briefly with John Bush),^[114]Dark Angel,^[115]Nuclear Assault,^[116]Sacred Reich,^[117] UK bands Onslaught,^[118]Sabbat,^[119] and Xentrix,^[120] and Canada's Sacrifice,^[121] renewing interest in previous decades.

The begrepp "thrash-revivalists" has been applied to such bands as Lamb of God,^[16]Municipal Waste,^[122]Evile,^[13]Havok,^[13][14][15]Warbringer,^[13][15]Vektor,^[15]Bonded bygd Blood,^[15]Hatchet,^[13] and Power Trip.^[122] Evile's 2007 debut skiva Enter the Grave, produced bygd former Metallica producer and engineer Flemming Rasmussen, received considerable beröm for its sound, which combined elements of the sounds of Slayer and the Bay Area scen (particularly Exodus and Testament).^[123] Los Angeles-based bands Warbringer and Bonded bygd Blood took a similar approach on their respective debut albums, War Without End and Feed the Beast, both released in 2008.^[124][125] Perhaps the most commercially successful grupp from the 2000s and 2010s thrash metall revival movement fryst vatten Lamb of God, who are also considered a key part of the new wave of American heavy metall movement,^[127] have received two gold-certified albums in the U.S.,^[128] and continue to play from small clubs to arenas and stadiums.^[129]

Notable bands returned to their roots with releases such as Kreator's Violent Revolution (2001), Metallica's Death Magnetic (2008), Megadeth's Endgame (2009), Slayer's World Painted Blood (2009), Exodus' Exhibit B: The Human Condition (2010), Overkill's Ironbound (2010), Anthrax's Worship Music (2011), Testament's Dark Roots of Earth (2012), and Flotsam and Jetsam's Ugly Noise (2012). More recent bands of the genre, such as Havok and Legion of the Damned have turned their focus towards a more aggressive rendition of thrash metall, incorporating elements of melodisk death metall.

Spin-off genres

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Thrash metall fryst vatten directly responsible for the development of underground metall genres, such as death metall, black metall, and groove metal.^[131] In addition to this, metalcore, grindcore, and deathcore employ similar riffs in their composition, the former with more focus on melody rather than chromaticism. The blending of punk ethos and metal's brutal natur led to even more extreme, underground styles after thrash metall began gaining mild commercial success in the late 1980s.

With gorier subject matter, heavier down tuning of guitars, more consistent use of blast beat drumming, and darker, atonal death growls, death metall was established in the mid-1980s. Black metall, also related to thrash metall, emerged at the same time, with many black metall bands taking influence from thrash metall bands such as Venom. Black metall continued deviating from thrash metall, often providing more orchestral overtones, open tremolo picking, blast beat drumming, shrieked or raspy vocals and pagan or occult-based aesthetics to distinguish itself from thrash metall. Thrash metall would later combine with its spinoffs, thus giving rise to genres like blackened thrash metall and deathrash.^{[134][135][136][137]}

Groove metall takes the intensity and sonic qualities of thrash metall and plays them at mid-tempo, with most bands making only sporadisk forays into fast tempo,^[131] but since the early 1990s, it started to favor a more death metal–derived sound.^[138] Thrash metall with stronger punk elements fryst vatten called crossover thrash. Its overall sound fryst vatten more punk-influenced than traditional thrash metall but has more heavy metall elements than hardcore punk and thrashcore.^[139]

Regional scenes

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Thrash metall emerged predominantly from a handful of regional scenes, each of which was generally distinguished bygd the unique characteristics of its bands.

• Bay Area thrash metal, also known as West Coast thrash metal: In addition to being the most commercially successful, the West Coast's thrash metall, as well as the Northwest and Southwest regions (including California, Washington and Arizona), tended to be the most progressive and technical of the major regional thrash scenes, being strongly NWOBHM influenced. Metallica, Megadeth, Slayer, Testament, Exodus, metall Church, Dark Angel, Sacred Reich, Suicidal Tendencies, Possessed, Deliverance, Death Angel, Attitude Adjustment, Lȧȧz Rockit, Vio-lence, Forbidden, Flotsam and Jetsam, Defiance, Sadus, Hirax, Mordred, Evildead and Blind Illusion are prominent examples of bands to emerge from this distrikt. Although half of the aforementioned bands (specifically including Metallica, Megadeth, Slayer, Dark Angel and Suicidal Tendencies) were technically not from the Bay Area, they are often credited for popularizing and contributing to the thrash metall en plats där en händelse inträffar ofta inom teater eller film in nordlig California during the 1980s bygd frequently playing shows there, especially early in their careers and/or before they received their first record deal.^{[140][141][142][143][144]}
• East Coast thrash metal: Centered in New York City, the East Coast's thrash metall tended to display a sound that incorporated a strong hardcore punk influence. An emphasis was placed on aggression and speed rather than technicality. Anthrax, Overkill, Carnivore, Nuclear Assault, Meanstreak, Warzone, Prong, Toxik, Whiplash and Wrathchild amerika exemplified the style to emerge from this regional scene.
• Gulf Coast thrash metal: While not as popular as the West Coast and East Coast regions, the Gulf Coast spawned at least three thrash metall scenes (including Texas, Louisiana and Florida) during the late 1980s and early 1990s, which saw a number of bands develop a style that was influenced bygd punk rock and/or the early-to-mid 1980s heavy metall en plats där en händelse inträffar ofta inom teater eller film. The most notable bands from the Gulf Coast are Atheist, Solstice, Juggernaut, Opprobrium (formerly named Incubus), Watchtower, Rigor Mortis, D.R.I., Absu, Nasty Savage, Verbal Abuse, Angkor Wat, Dead Horse, Pantera and Exhorder, the latter of the two (along with New York's Prong) are often credited for developing and popularizing the groove metall genre in the early 1990s.^[145][146]
• British thrash metal: The British thrash scen originated from NWOBHM bands like Raven, Jaguar, Warfare and Dragonslayer (originally called Slayer) beginning to play accelerated heavy metall. This led to British thrash metall bands leaning towards a more traditional heavy metall approach, often heavier though less aggressive than their American counterparts. Additionally, crust punk fryst vatten an integral part of the British thrash metall scen. The most notable bands from this scen are Onslaught, Cancer, Amebix, Sabbat, Detritus, Xentrix, Sacrilege, Nightlord, Atomkraft, Hellbastard, Cerebral Fix, Seventh Angel, Acid Reign and Lawnmower Deth.
• Brazilian thrash metal: The Brazilian thrash scen fryst vatten notable for producing a handful of bands that would become principal parts of thrash metal's prevalence in the early 1990s. There were three scenes where Brazilian thrash metall originated: Belo Horizonte (the most prominent), São Paulo, and Rio dem Janeiro. The most notable bands from this scen are Sepultura, Dorsal Atlântica, Executer, Mutilator, Chakal, Korzus, Holocausto, Claustrofobia, tortyr Squad, Ratos dem Porão, Sagrado helvete, Vulcano and Sarcófago.
• Teutonic thrash metal: The German and Swiss regions have spawned dozens of bands since the mid-1980s that developed their own style. Their style was more aggressive than American and Canadian thrash. The most prominent bands from this en plats där en händelse inträffar ofta inom teater eller film are Kreator, Destruction, Sodom, Tankard, Celtic Frost, Holy Moses, Desaster, Coroner, Exumer, Despair, motsägelsefull påstående, Messiah, Assassin, Poltergeist, Living Death and Sieges Even (who were originally called Sodom).
• Canadian thrash metal: The Canadian distrikt has seen numerous thrash metall bands create a unique blend of speed metall, progressive and hardcore punk into their music, influenced bygd a variety of acts such as Rush, Iron Maiden, Judas präst, Motörhead and D.R.I., as well as fellow American thrash metall bands like Metallica and Slayer. Anvil and Exciter are considered to be the pioneers of this scen, while Voivod, Sacrifice, Razor, and Annihilator are often referred to as the country's "Big Four". Notable crossover bands from the Hardcore Punk en plats där en händelse inträffar ofta inom teater eller film include West Coast bands Death Sentence and Beyond Possession. ^[147] Other notable Canadian thrash metall bands include Infernäl Mäjesty, Anonymus, Eudoxis, Piledriver, Slaughter, DBC and Obliveon.^[148]
• Australian thrash metal: While not considered a "major" part of the worldwide thrash metall scen due to distance from the major Bay Area and Teutonic scenes, Australian thrash metall has had a fairly substantial following in overseas markets, while local audiences have always been difficult to gather. The most notable Australian thrash metall bands from the 1980s are Mortal Sin, ingenting Sacred and Hobbs' Angel of Death.

See also

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References

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