thrash

Album Review: Sodom - Epitome Of Torture

Submitted by Chris C on Wednesday, Apr 24th 2013

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"

Submitted by M. Drew on Monday, Mar 18th 2013

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!

Submitted by M. Drew on Friday, Mar 15th 2013

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

Submitted by M. Drew on Thursday, Mar 14th 2013

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.

1983 - The Year That Forged Metal - Part 2

Submitted by M. Drew on Wednesday, Mar 13th 2013

CHRIS:

1983 - The Year That Forged Metal - Part 1

Submitted by M. Drew on Tuesday, Mar 12th 2013

Album Review: Destruction - "Spiritual Genocide"

Submitted by M. Drew on Tuesday, Feb 5th 2013

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

Album Review: Deceptor - "Chains of Delusion"

Submitted by M. Drew on Monday, Jan 21st 2013

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.”

Album Review: Dublin Death Patrol - "Death Sentence"

Submitted by M. Drew on Thursday, Aug 30th 2012

Bay Area super team-up Dublin Death Patrol, that singular commiseration of well-known thrash superstars, has produced a second album to follow up their debut “DDP 4 Life.” Beginning with Testament vocalist Chuck Billy and former Exodus lead singer Steve Souza, this heady collaboration has presented the world with “Death Sentence.”

Concert Review: Rockstar Energy Drink Mayhem Festival – The Main Stage

Submitted by M. Drew on Monday, Aug 6th 2012

Asking Alexandria was technically asked to open the main stage, but in reality, they were ex post facto to Anthrax, and began performing as soon as the veteran band had finished. As such, double A (not Arn Anderson,) was forced to deal with the nearly impossible task of playing to a transitory audience. They had completed “Welcome,” and were through a good portion of “Closure” before the bulk of the crowd moving from one stage to another had even had their tickets checked.