Lilia Bogoeva

Survey of 20th and 21st Century Music

Development of Thrash Metal

Thrash metal, a subgenre of metal music, began developing in the early 1980’s from

the influences of the New Wave of British Heavy Metal (NWOBHM) styles including

heavy metal, black metal, and speed metal played by bands such as Iron Maiden, Black

Sabbath, Judas Priest, Venom, Motorhead, and Diamond Head. What sets thrash apart

from all these NWOBHM styles is the strong hardcore punk influence, and what sets

thrash apart from hardcore punk is much greater attention to detail and technicality.

Thrash also falls under the umbrella of “extreme” metal styles. In contrast to traditional

heavy metal, extreme metal further pushes the limits of heaviness, tempo, distortion, and

harsh vocals. One crucial element that distinguishes thrash from ’80’s hard rock bands

like AC/DC was the clear lack of blues influence. The lack of blues influence was one

reason why metal has been stereotyped as “white music,” since it does not include the

characteristic “black” influence of the blues.

The years 1982-1984 were landmark years for the early development of thrash metal.

At this point, thrash was developing as part of an underground music scene, unknown to

the general public for several years. The term “thrash metal” had not yet been coined to

describe the style of bands like Metallica and Slayer, so such bands went off the label

“power metal.” The Metal Massacre demos released in 1982 were, for many local LA

metal bands, the first opportunity to obtain some exposure through recordings of their

music. It was on these demos that bands like Metallica, Ratt, and Armored Saint first got

their music released to the public, thus starting up their recording careers. During the

following year, Metallica released the first thrash metal studio album, Kill ‘Em All, on

independent record label Megaforce. This album featured the trademarks of Metallica’s

early ‘80s’s sound−palm muting, unison riffing, screechy vocals, some of the fastest

tempos found in metal of the day, and lyrics about life in the metal world. These stylistic

elements would become strong influences on many of their metal contemporaries. Later

that year, Slayer debuted with Show No Mercy on Metal Blade Records. Highly

influenced by British bands Iron Maiden, Venom, and Judas Priest, as well as punk,

Slayer was interested in pushing the limits of speed, primitivism, disturbing lyrics, and

shock value in metal. Early in 1984, Anthrax released their debut Fistful of Metal in

response to Metallica’s speed, thus further solidifying the arrival of thrash metal into the

early 1980’s underground musical landscape as well as the competitive nature of the

genre.

Geographically, extreme metal scenes have been known to center in regions with a

high concentration of power and capital as opposed to deprived inner cities or rural areas.

Thus, the San Francisco Bay Area was the definitive center for thrash in the 1980’s, being

home to Metallica, Testament, and Exodus, among other historically important bands.

Home to Slayer and Megadeth, Southern California was also a prominent region for

thrash metal.

However, Los Angeles at this time was more focused on glam metal and hair metal, a

genres to which thrashers were strongly opposed. Like thrash, glam was performed

almost exclusively by men, but glam was highly androgynous, with male performers

wearing makeup and women’s clothing. Thrash has always been highly masculine and

much less image-oriented to represent the masculine ideals of independence, detachment,

and personal control. In glam, long hair was used as a symbol of ambiguous androgyny

and was elaborately styled, while in thrash, long hair was a symbol of masculine

independence, as the genre has always operated on the notion that independence is the

hallmark of true masculinity. Metallica in particular began popularizing the “anti-image”

look of wearing jeans, t-shirts, and no make-up on stage to contrast with the overly

flamboyant glam and hair metal performers of the time. Glam and hair bands were also

much more likely to sing of lust, love, and other gendered topics, while in thrash such

gendered lyrics are an extremely rare find.

Thrash metal came into its own in the mid-1980’s as artists began being signed on to

major labels and selling enough records to get the mainstream media’s attention. The

term “thrash metal” was coined to describe this new style. In 1984, Metallica received its

first major label record deal with Elektra for its sophomore release Ride the Lightning

which received critical praise for its being much more mature, thoughtful, and musically

developed than its predecessor. The sale of over 100,000 of Slayer’s second album Hell

Awaits was considered a great success for independent label Metal Blade, thereby not

only establishing both Slayer the record label as a formidable force in underground metal,

but also making Slayer attractive to major labels. In 1985, Exodus’s Metallica-influenced

debut Bonded by Blood made them one of the most popular bands of the Bay Area thrash

scene. That same year, Megadeth released their long-anticipated debut Killing is My

Business as a way to “out-metal” Metallica in terms of speed, heaviness, and power and

establish themselves as a prominent band within thrash metal. Because two members of

Megadeth were former jazz musicians, the album had a subtle yet significant jazz

influence that distinguished it from other early thrash albums. At this time, the overall

trend in thrash was to play faster and heavier than every other band.

During the last half of the 1980’s, thrash metal exploded out of the underground and

became a craze around the metal community, even managing to catch the eye of MTV in

the process. As demand for metal in the music industry increased, many thrash bands

began experiencing gold and platinum album success that placed the genre more and

more in the public view. In 1986, Metallica’s Master of Puppets became the first thrash

album to be certified Gold. This thoughtful and complex album a milestone in album

sales and musical ingenuity in thrash metal. At the same time, Slayer continued pushing

the envelope of heaviness and speed with their career-defining album Reign in Blood. By

the mid-1980’s, Anthrax, Megadeth, Metallica, and Slayer were all on major labels and

selling hundreds of thousands of records each, thus earning the title of the “Big Four” of

thrash metal for having accumulated the highest amount of record sales, influence, and

prominence within the subgenre. Cross-influence between thrash and hardcore punk

created the subgenre metalcore. During this time, thrash bands that were seemingly anti-

MTV and anti-radio ironically earned extra exposure through the MTV shows Heavy

Metal Mania and Headbangers Ball.

The 1980’s cultural climate had a huge influence on instrumental and lyrical directions

in thrash. Thrash metal was hugely opposed to the TV Evangelists of the time because

they were seen as a huge threat to personal freedom, a concept of pinnacle importance in

thrash. Slayer was at the forefront of anti-Christian lyrics. From the depictions of Satan

and Hell on each of their album covers, to satanic lyrics and song titles like “The

Antichrist,” Slayer repeatedly mocked born-again Christianity and incorporated quasi-

satanic imagery. In the song “Leper Messiah,” Metallica aimed at attacking individuals

who blindly subject themselves to the mind control of Evangelism, characterizing these

individuals as sheep blindly following an unpromising deity. In order to separate

themselves from the label of “satanic metal bands,” Metallica emphasized the idea of

self-control and independence rather than satanic fantasies in the few songs in which they

have addressed religion. What all these bands had in common was criticizing Evangelism

as a threat to personal freedom and independence.

The bleak political and economic environment of the U.S. during the late ‘80’s and

early ‘90’s contributed to a tendency for politically-charged music. At this time, the

country was experiencing a moderate recession as well as the Gulf War. Music fans were

ready for music that faced these troubled times with a powerful sense of emotion and

realism. They found this in albums by thrash bands like Metallica, Megadeth, Testament,

and Exodus, which tended toward a left-wing point of view, as well as in rap groups like

Public Enemy. Because both genres were sending similar messages, metal and rap began

to cross-influence much more than they had in the past. This eventually lead to the

subgenre rap metal. This cross-influence helped smooth over racial distinctions. Although

metal is stereotyped as “white music,” and rap is stereotyped as “black music,” racial

designations have always come secondary to musical ability in both genres.

At the end of the ’80’s, the “play faster and harder” trend in thrash morphed into “play

with more complexity and sophistication,” thus giving the genre a higher sense of

maturity than it had in preceding years. Slayer, who had long been considered the kings of

speed in thrash, opted for a much slower-paced approach in their eerie-sounding fourth

album South of Heaven. Although this album received some mixed reactions from critics,

it earned the band an increased level of respectability. Bay Area thrashers like Holy

Terror and Testament began utilizing intricate melodic elements into their music that

were largely an extension of the melodic innovations of Master of Puppets. European

bands Celtic Frost and Voivod also experimented with emphasizing sophisticated

compositional techniques including classical influence, Latin percussion, and polyrhythm.

Of course, Metallica led the way in this maturing genre, as their politically-charged fourth

album, …And Justice for All quickly went platinum and even received a Grammy

nomination. The maturity and sophistication of many late ‘80’s thrash albums earned the

genre a greater sense of respect from music critics and fans as well as increasingly higher

album sales.

Beginning in the 1990’s, the increasing complexity of thrash gave way to the genre

splitting off into two musical directions−on one hand, bands like Metallica and Megadeth

softened their music in favor of commercial appeal, and on the other hand bands like

Sepultura and Pantera integrated thrash with other musical styles to create a crushingly

heavy and innovative new sound. For bands of both musical directions, the focus turned

more and more away from speed and toward putting a slow, heavy crunch to their music.

As alternative rock and grunge became popular in the mainstream, the media began

focusing more on those styles and less on extreme metal. Therefore, Metallica began

integrating elements from alternative rock and pop to create their self-titled album

Metallica, which became a huge multi-platinum success. Other bands followed suit, as

thrashers Megadeth and Voivod made similar stylistic changes with their albums

Countdown to Extinction and Angel Rat respectively. Albums like these were wildly

successful commercially but angered some of the fans, as the artists were constantly

accused of “selling out,” changing their style just to make money.

On the other end of the spectrum, Brazilian band Sepultura kept the tradition of

heaviness in metal. Since their start in the ‘80’s, the band combined the satanic

aggression of Slayer with the intricate composition of Master of Puppets-era Metallica. In

1993, their death metal influenced album Chaos AD went gold and made the band an

international success story. Perhaps the most definitive band of the 1990’s extreme metal

scene, Pantera’s Cowboys from Hell marked this Texas-based group’s transition from

obscurity to prominence by combining elements from thrash and other metal styles with

rap in a streamlined manner termed “groove metal.” The multi-platinum success of later

‘90’s releases such as Vulgar Display of Power and Far Beyond Driven further solidified

their position as a leading band in extreme metal. Furthermore, the heavy, crunchy feel of

these songs allowed the band to adapt to a musical scene in which frantic speed was had

fallen out of fashion. Sepultura and Pantera were particularly important bands during the

1990’s because, even without radio airplay, they allowed the thrash elements of extreme

metal to remain commercially successful and visible during a time when the mainstream

media was largely ignoring metal music.

During the 1990’s, thrash laid the groundwork for several other metal subgenres. One

of the most prominent was death metal, which began in Florida the mid 1980’s and

gained significant ground during the following decade. The first wave of definitive death

metal bands featured Death, Decide, and Morbid Angel, with Death being considered the

original death metal band. Death metal took the harsh shouting vocals of thrash one step

further, utilizing barely comprehensible growled and screamed vocals along with slower

tempos and more satanic and gory lyrics. Later in the ’90’s some death metal bands began

writing more eloquent lyrics. Death metal was an underground genre, overlooked by the

mainstream. On the commercial side, the softened sound of Metallica and Megadeth

influenced “alternative metal,” a subgenre heavier than alternative rock but soft enough

for mainstream radio. Compared to thrash metal, alternative metal is much slower,

simpler, and less lyrically controversial and lacks the vicious sense of aggression. Also of

musical significance, it was early in the ‘90’s that glam and hair metal fell out of fashion.

It was in the 1990’s that thrash metal’s social criticism found its way out of the record

stores and into public view. During this time, musicians themselves were more closely

connected to politics than in the past. Megadeth front man Dave Mustaine even acted as

the Rock the Vote spokesperson for the 1992 election, addressing political concerns in

much more direct ways than other bands of the time. Metallica and Testament were

considered to address politics through a more detached and documentary type of

approach. Moving away from songs about thrash metal culture or the occult and toward

topics of social interest was a way for thrash musicians to present their music as being

culturally significant and gain a sense of self-importance.

Moving into the 21st century, thrash has been looking back at the 1980’s for stylistic

inspiration, as public interest in heavy music has been increasing since the turn of the

century. Many metal critics and fans cite the 9/11 terrorist attacks as a major reason for

the revival of metal in the mainstream−under the siege of conflict between the US and the

Middle East, the aggression, conflict, and social criticism of metal has newfound

relevance. Classic ‘80’s bands like Exodus, Testament, Death Angel, and the “Big Four”

have been putting out albums that are very stylistically reminiscent of the music they

composed during the 1980‘s. These albums are much heavier and faster in sound than the

softened music many of them wrote in the ’90’s. Because there have been so many

commercially successful metal bands in the 21st century, the contemporary American

metal movement has been deemed the “New Wave of American Heavy Metal”

(NWOAHM). This movement, which originated in the 1990’s and broke into prominence

in the 2000’s, encompasses a multitude of heavy music styles as well as bands who’s

subgenres remain ambiguous. The NWOAHM draws heavily from thrash, death, groove,

progressive metal, and hardcore punk. The integration of thrash with death metal,

alternative rock, rap, industrial, punk, and grunge created a subgenre called “nu metal,”

which includes many commercially successful bands such as Slipknot, Disturbed, and

Korn. As far as 21st century pure thrash metal bands go, relatively prominent bands

include England’s Evile, US’s Warbringer, and Brazil’s Violator. Worldwide, thrash is

being integrated into other styles, but is kept alive by both classic and new thrash bands.

Thrash metal has established huge popularity in North and South America and Europe,

and has been gaining ground in Asia, but the Middle East and Africa have been largely

untouched by metal in general. Islamic world has tended to point to heavy metal as a

symbolic breakdown of traditional values and symptom of American immorality that

would corrupt the nation if allowed to break into the mainstream. However, as an

increasing number of Middle Eastern countries transition to more liberal forms of

government, metal makes gradual gains in popularity, as demonstrated by the fact that

Metallica began touring in Israel in 2010.

The chief stylistic techniques and directions that characterize thrash metal have

interesting relationships with social concepts. The physicality and energy in thrash is

directly reflected in the music’s rhythmic flow. Long runs of eighth or sixteenth notes

create a sense of unchanging eternity and kinetic energy. Gallop rhythms (two sixteenths

followed by an eighth or vice versa) build potential energy. Longer note durations tend to

occur at the ends of phrases or during choruses, thus representing the release of this

kinetic energy and hauling it to a sense of control. The 4/4 meter is very common and

often serves a function similar to that of a military march: to arouse a sense of single-

mindedness between the players and listeners. Thrash bands like Metallica often use

syncopations within 4/4 or incorporate compound or complex meters into their music to

create an impression of rhythmic simplicity while in reality being fairly complex. This

demonstrates the interplay between freedom and control so pinnacle to the concept of

thrash.

Distortion and volume play a crucial role in establishing the power of metal. The sheer

volumes of meal concerts allow the music to be felt from within as well as without,

internalizing the musical experience. Distortion, which used to be considered an

unwanted noise from amplifiers, is strongly desired to create more overtones and

undertones from the guitar and thus a more full and powerful sound.

Distortion in voices is also common, either produced naturally by screaming or

shouting, or artificially through vocal distortion devices. Vocal distortion is used for the

same reasons as guitar distortion. Many different vocal styles exist in thrash, from the

shouting voice of Slayer’s Tom Araya, to the high and nasally snarl of Megadeth singer

Dave Mustaine, to the screechy vocals James Hetfield used on the first few Metallica

albums and the low, powerful gruff on later records. What all these voices have in

common is using high volume energy to depict a sense of power. Long sustained notes in

vocal lines represent this power coming to a climax.

Modal harmony and instrumental virtuosity also make important contributions to a

thrash song’s meaning. Thrash metal music is often highly modal, typically in minor keys,

and make extensive use of the Phrygian, Dorian, or Locrian modes. Phrygian and Locrian

in particular signify a deep anguish, as the flatted scales degrees in these modes give the

song a sense of being unstable and closing in on itself. Most thrash songs feature one or

more guitar solos, making the guitar the most important virtuoso instrument. Heavily

distorted, palm muted guitar riffs create a wall of guitar noise, therefore, a solo is the lead

guitarist’s chance to break through this sound wall and be liberated from the constraints

of the rhythm section. Guitar solos themselves are often highly technical, fast, and require

much skill to play, but sound very frenetic, thus creating a sense of controlled chaos.

These solos further depict the conflict between control and freedom so central to extreme

metal.

From its obscure origins, thrash metal has evolved into a worldwide musical

phenomenon. It is a potent musical representation of real-world conflicts: control versus

freedom, chaos versus order, power versus weakness, and emotional openness versus

detachment. It is this substance and relevance that has made thrash metal such a powerful

force in music.

Sources

Christe, Ian. Sound of the Beast: The Complete Headbanging

History of Heavy Metal. New York: HarperCollin

Publishers, 2003. Print.

Kahn-Harris, Keith. Extreme Metal: Music and Culture on

the Edge. Oxford: Berg, 2007. Print.

“New Wave of American Heavy Metal.” Wikipedia, 20, 2012.

Web. 22 Nov 2012.

Pillsbury, Glenn T. Damage Incorporated: Metallica and the

Production of Musical Identity. New York: Taylor &

Frances Group, LLC, 2006. Print.

Ramirez, Carlos. “Top 10 New School Thrash Bands.”

Noisecreep, 29 2009. Web. 22 Nov 2012.

Walser, Robert. Running With the Devil: Power, Gender,

and Madness in Heavy Metal Music. Middletown:

Wesleyan University Press, 1993. Print.

Albums Recommended for Listening Examples

Thrash, Early Influences- NWOBHM and Punk:

The Sad Wings of Destiny - Judas Priest, 1976

Nevermind the Bullocks, Here’s the Sex Pistols - Sex Pistols, 1976

Ace of Spades - Motorhead, 1980

Welcome to Hell - Venom, 1981

Killers - Iron Maiden, 1982

Classic Thrash:

Kill ‘Em All - Metallica, 1983

Show No Mercy - Slayer, 1983

Fistfull of Metal - Anthrax, 1984

Killing is My Business…and Business is Good - Megadeth, 1985

Bonded By Blood - Exodus, 1985

Thrash Epics:

Master of Puppets - Metallica, 1986

Raining Blood - Slayer, 1986

Peace Sells…But Who’s Buying - Megadeth, 1986

Among the Living - Anthrax, 1987

1990’s Thrash/crossover:

Divine Intervention - Slayer, 1994

Metallica - Metallica, 1991 (thrash/alternative metal)

Countdown to Extinction - Megadeth, 1992 (thrash/alternative metal)

The Ritual - Testament, 1992 (thrash/grunge)

21st Century Thrash:

Death Magnetic - Metallica, 2008

Walking Into Nightmares - Warbringer, 2009

Five Serpent’s Teeth - Evile, 2011

Thrash, Crossover with other Genres:

Cowboys from Hell - Pantera, 1990 (groove metal)

Chaos AD - Sepultura, 1993 (thrash/death metal)

Requiem- Bathory, 1994 (thrash/black metal)

Slipknot - Slipknot, 1999 (nu metal)