Thrash Metal 1990s Albums

Criteria for a Black Widow shapes high-tension thrash metal from slicing riffs, sudden turns and intricate guitar work.

Immortal's fifth album, issued by Osmose Productions in 1999. It fuses black metal with thrash, and it is the turn in their course.

Kreator's ninth studio album, from 1999 and the furthest they went towards gothic metal.

The Burning Red retains Machine Head’s heavy riff foundation while bringing in bouncier rhythm, more dynamic vocals and modern production.

Risk deliberately pulls back from Megadeth’s usual thrash attack and moves toward smoother melody, mid-tempo groove and more pop-shaped arrangements.

Masterpeace attacks with heavy guitar riffs, hard-edged drums and urgent vocals, reaffirming Metal Church’s traditional heavy-metal force.

Ministry's seventh album, out on 8 June 1999. It is the last record they made for Warner Bros.

Overkill's covers album, from October 1999: it opens with Motörhead's "Overkill", from the album the band is named after, and runs from punk to hard rock.

Overkill's tenth album, released in February 1999 and recorded at the Carriage House in Stamford late in 1998, produced by the band with Andy Katz.

Ghosts draws Rage slightly away from its usual sharp metal attack and gives more attention to acoustic resonance and quieter melody.

The Gathering pushes Testament into a particularly aggressive space, layering sharp thrash riffs with a low, heavy sound.

Volume 8: The Threat Is Real keeps Anthrax’s thrash sharpness at the core while bringing in thick groove, hard-rock hooks and contemporary weight.

Garage Inc. is a strongly conceptual covers album on which METALLICA translated a number of songs it reveres into their own sound.

XIII by RAGE: track list, Spotify player and English liner notes on METAL BOOST.

Sepultura's seventh studio album, from 1998, the first with Derrick Green singing and the one Kodo play on.

Diabolus in Musica builds an oppressive heaviness from low, heavy guitar, hard-carved rhythm and cutting vocals.

The Haunted's debut album, released in June 1998, twelve tracks running 40:46.

Remains retains some of Annihilator’s thrash momentum while boldly bringing in programmed-feeling rhythm and colder sound.

Kreator's eighth studio album, from July 1997, made at the height of their gothic and industrial period.

The More Things Change... intensifies Machine Head’s heavy riffs, rough shouts and twisted groove.

Cryptic Writings retains Megadeth’s thrash-rooted tension while moving toward cleaner construction and more immediate choruses.

Reload deepens Metallica’s late-1990s rock approach through thick, rolling riffs, low-slung groove and rough vocal delivery.

Outrage's seventh album, out on 25 January 1997. It is the last full-length by the four-man line-up before Naoki Hashimoto left in 1999.

Overkill's ninth album, released in September 1997: the first mixed by Colin Richardson, heavier and darker, with a nod to the textures of its decade.

Somber Eyes to the Sky is Shadows Fall’s debut collision of rough riffing, shouted vocals and lyrical guitar.

Strapping Young Lad's second album, issued by Century Media in 1997. It is the first Devin Townsend made with a permanent line-up.

Demonic keeps some of Testament’s thrash bite but brings lower, slower and heavier pressure to the foreground.

Voivod's ninth studio album, from 1997 and the second and last with Eric Forrest on bass and vocals.

Refresh the Demon puts Annihilator’s balance of razor-sharp riffs and memorable hooks back in the foreground.

Load finds Metallica looking for new kinds of weight through thick groove, bluesy riffs and more reflective vocals rather than relying only on thrash speed.

Ministry's sixth album, out on 30 January 1996. It includes a reading of Bob Dylan's Lay Lady Lay.

Overkill's eighth album, released in March 1996: their first after leaving Atlantic, with a new guitar pair in Joe Comeau and Sebastian Marino.

The Great Southern Trendkill sharpens Pantera’s destructive groove and forces noise, speed and crushing weight into a single sound world.

End of All Days keeps the symphonic imagination opened up by its predecessor in the background while returning Rage’s speed and riff-driven momentum to the front.

Lingua Mortis places Rage’s heavy metal directly against orchestral force and greatly expands the music’s dramatic scope.

Sepultura's sixth album, released in 1996. It carries recordings made in a Xavante village in Brazil, and it is the last with Max Cavalera.

Undisputed Attitude releases Slayer’s love of punk and hardcore at relentless speed.

Stomp 442 keeps Anthrax’s thrash energy but shifts the emphasis toward lower-slung riffs and heavier groove.

Death's sixth album, issued by Roadrunner on 21 March 1995. It keeps the technique and steps a long way towards melody, and it is where the band arrives.

Kreator's seventh studio album, from 1995, their first for GUN Records and the only one with a different drummer.

The eight soundtrack and tribute tracks Megadeth never put on a studio album, gathered onto one 1995 Capitol EP.

Outrage's sixth album, out on 25 May 1995. Megalomania, which opens it, is still played live today.

Black in Mind uses Rage’s heavy riffs and intelligent shifts to create a dark, unsettling world.

Vader's second album, issued by Croon Records in 1995. It was taped at Modern Sound Studio in Gdynia and stands for Polish death metal.

Voivod's eighth studio album, from November 1995, the first after Snake left for a time, sung by bassist Eric Forrest.

King of the Kill finds ANNIHILATOR in a phase that keeps Jeff Waters's thrash sharpness while leaning Annihilator toward heavier riffs and more direct songcraft.

Burn My Eyes finds MACHINE HEAD in a phase that channels street-level anger, low-cut riffing and hard groove into a debut that announced a new kind of 1990s metal weight.