Thrash Metal 1980s Albums - Page 2

The debut by Brazil's Sarcófago, recorded in July 1987 at J.G. Studio in Belo Horizonte and issued by Cogumelo Records that August.

Sepultura's second album, issued by Cogumelo in Brazil in 1987 and the first with Andreas Kisser.

Sodom's second album, recorded at Musiclab Studios in Berlin between 2 and 22 October 1987 and produced by the band with Harris Johns.

The Legacy is rooted in Bay Area thrash speed and attack, but it also carries detailed guitar interplay and memorable melodic shape.

Voivod's third album, recorded at Music Lab in West Berlin between November and December 1986, produced by the band with Harris Johns.

Dark Angel's second album, recorded from April 1986 at Music Grinder and Mad Dog studios in Los Angeles with Randy Burns producing. It is Gene Hoglan's first Dark Angel record.

The second album, out on 1 November 1986. It was made at Musiclab in Berlin with Harris Johns, the first professional producer the band worked with, and it is named as a starting point by death metal and black metal musicians alike.

Peace Sells... but Who’s Buying? sets Dave Mustaine’s twisted riff sense against Chris Poland’s fluid guitar work.

The Dark places Metal Church’s thick riffs and rough vocal attack at the center, bringing heavy themes and tension to the front.

Master of Puppets keeps Metallica’s speed and weight while building long forms, contrasting sections and dense sequences of riffs with remarkable control.

Ministry's second album, out on 12 March 1986, the record their own biography calls the turn to industrial music.

Nuclear Assault's debut, recorded at Pyramid Studio in Ithaca, New York in May 1986 and released by Combat Records.

Reign of Fear builds on speed-metal momentum and puts cutting guitars alongside Peavy Wagner’s rough vocal attack.

Sepultura's debut, eight songs issued by Cogumelo in Brazil in 1986.

Reign in Blood strips away excess and concentrates fast riffs, abrupt turns and Dave Lombardo’s violent drumming into a single point of force.

Voivod's second studio album, from 1986: still as rough as the debut, and already moving towards what came next.

Spreading the Disease keeps thrash-riff aggression but puts Joey Belladonna’s high, clear voice and larger melody in front.

Celtic Frost's second album, recorded between 14 and 28 September 1985 at Casablanca studio in Berlin. The gatefold sleeve carries H. R. Giger's 1977 painting Satan I.

Destruction's debut album, recorded at Caet Studio in Berlin and released by Steamhammer on 24 May 1985. With Sodom and Kreator, it is one corner of the German triangle.

Bonded by Blood is Exodus’s debut collision of punk-like momentum and hard heavy-metal riffing.

Kreator's debut, cut and mixed inside ten days at Caet Studio in Berlin in March 1985 and issued by Noise that October. Mille Petrozza and drummer Ventor trade lead vocals from song to song, a split the band never repeated.

Killing Is My Business... captures Megadeth’s raw early drive around Dave Mustaine’s sharp, twisted riff sense.

Overkill's debut album, recorded at Pyramid in Ithaca, New York and released by Megaforce Records in 1985. It is one of the starting points of East Coast thrash.

I Am the Night is a useful way to hear PANTERA from a different angle within the 1985 catalogue.

Possessed's debut, recorded at Prairie Sun Studios in Cotati, California between 30 March and 5 April 1985 with Randy Burns producing.

The second album by Canada's Razor, recorded at Phase One Studios in Toronto in July 1985 and released by Viper Records in October that year.

A side project built around two members of Anthrax with Billy Milano and Dan Lilker, cut in four days at Pyramid Sound in Ithaca, New York in July 1985.

Hell Awaits keeps Slayer’s speed while moving toward more complex, uneasy song structures.

Fistful of Metal is Anthrax’s raw debut, linking the steel of the NWOBHM with hardcore-bred speed.

Bathory's debut, recorded from June 1984 at Heavenshore Studio — a converted garage in Huddinge, outside Stockholm — and issued by Black Mark on 2 October 1984. It is one of the records routinely named as the first black metal album.

Celtic Frost's debut, recorded and mixed inside a single week in October 1984 at Caet Studio in West Berlin. It is the first record by the three musicians who had just dissolved Hellhammer.

Metal Church is a debut that joins the weight of traditional metal to the aggression of thrash.

Ride the Lightning takes the raw speed of Metallica’s debut as a starting point and rapidly expands its structure, melody and emotional range.

Projects in the Jungle is a useful way to hear PANTERA from a different angle within the 1984 catalogue.

Sodom's first release: a five-song EP recorded at Caet Studio in Berlin in October 1984, and one of the records counted in the first wave of black metal.

Voivod's debut, recorded at Le Terroir Studio in Laterriere, Quebec in June 1984 and released by Metal Blade Records.

Kill ’Em All throws together speed-metal momentum, punk urgency and riff instincts shaped by the NWOBHM.

Ministry's debut, issued by Arista in 1983: a record of polished electro-pop.

Metal Magic is a useful way to hear PANTERA from a different angle within the 1983 catalogue.

Show No Mercy is Slayer’s debut of fast riffs, rough vocal attack and drums that drive without mercy.