thrash

Album Review: Potential Threat SF - "Civilization Under Threat"

At the rate these albums have been coming out, I need to either invent a time machine so I can go back to 1983 and learn to love thrash, or stick my head in the sand for another three years until a new trend is established. The number of thrash albums hitting these days is astounding, considering how the genre was all but dead until The Big 4 came out of hibernation. It's great news for adrenaline starved fans, because nothing can pump the blood like good ol' thrash can, but it's slightly less inviting for people like me who have never been filled to the brim with youthful bile.

Album Review: Evile - "Skull"

Despite all its loudly orated trappings to the contrary, metal is very much a genre that embraces the ideas of tradition and legacy. This really isn’t that surprising; all counter cultures recognize their own, and scrutinize members’ inclusion based on a selection of worthy criteria. In this sense, counter-cultures and underground movements aren’t at all different from the mainstream institutions they rail against, which is a sort of cruel, unyielding irony.

Album Review: Sodom - Epitome Of Torture

One of the things about the thrash renaissance that is most welcome is the remembrance of bands outside the Big Four. While the Bay Area bands, along with the New York scene, did define thrash and contribute countless classic records, the boundaries of the genre weren't compatible with America's. Thrash exploded everywhere, and nowhere more than Germany, which has solidified its legacy as the second home of thrash. In the dark years of heavy metal, when all but the biggest bands seemed forgotten, the German thrash scene was reduced to but a blip on the screen.

Album Review: Lost Society - "Fast Loud Death"

I suppose it was inevitable and we all should have seen it coming. In thrash’s latent, momentous revival, we’ve come up with new names to buffer the genre and kept the lion’s share of the classics alive as well. As the wave of metal resurrection continues however, studious fans will note that every facet of old thrash has been revitalized save one: we’ve been asking the question “who will be the new S.O.D?” Carrying on the legacy of the Stormtroopers of Death is a deceptively weighty task.

1983 - The Year That Forged Metal - Final!

As is our custom, we close the annual Tribute Project with submissions and thoughts from around the metal sphere, as promised. A couple dozen people were nice enough to take time out of their lives and consider our question: "Out of all the artists who debuted or formed in 1983, which one has had the greatest impact on you personally or professionally?" the answers are varied, some heartfelt, some hilarious and many in between. Nonetheless, each one provides insight into the artist who gave it, and gives a glimpse into their dedication and fanhood. But enough.

1983 - The Year That Forged Metal - Part 3


M.DREW:
Speaking of Queensryche songs, if you ever really want to make a serious ‘Ryche fan angrier than all get out, tell him or her your favorite song of theirs is “Jet City Woman.” Watch the reaction. There might even be an eye twitch.

Album Review: Destruction - "Spiritual Genocide"

Okay kids, gather round. It’s confession time.

Album Review: Deceptor - "Chains of Delusion"

Thrash metal from England. Think back for a second. Have you ever, in your life of musical fandom, heard or used that phrase? Probably not, and Deceptor is willing to admit the same. For all the legendary history of English metal, from Sabbath to Maiden to Priest and Venom, all have danced around thrash, many have had a hand in shaping it, but none have waltzed with it. So, Deceptor takes the banner for English thrash and leaps headlong into the fray with their new effort “Chains of Delusion.”

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