Thrash Metal 1990s Albums - Page 2

Mayhem's debut, released in 1994. The writing began in 1987, and the record reached the public seven years later, after the suicide of its singer and the murder of its guitarist.

Youthanasia finds MEGADETH in a phase that keeps Megadeth's thrash-born tension while shifting weight toward thick mid-tempo motion and denser melody.

Overkill's seventh album, released in July 1994: self-produced, a return to fast thrash after the weight of its predecessor, and their last for Atlantic.

Far Beyond Driven, PANTERA's seventh album, pushes the weight and edge of its groove metal to the limit, turning aggression into physical force.

10 Years in Rage is a useful way to hear RAGE from a different angle within the 1994 catalogue.

Divine Intervention is SLAYER's sixth album and first studio record with Paul Bostaph on drums, keeping the urgency of merciless thrash intact.

Low finds TESTAMENT in a phase that keeps Testament's thrash precision while moving into lower tuning and heavier groove.

Set the World on Fire finds ANNIHILATOR in a phase that keeps Annihilator’s thrash urgency while moving toward larger melody and more clearly organized song form.

Sound of White Noise finds ANTHRAX in a phase that marks a transition for Anthrax, bringing heavier groove and darker vocal character into a thrash-built frame.

Death's fifth album, out on 22 June 1993. Gene Hoglan and Andy LaRocque play on it, and it pushes the technical bent of the previous record further still.

Hanging in the Balance, METAL CHURCH's fifth album, keeps the weight of traditional metal and builds drama on Mike Howe's powerful vocals.

Outrage's fifth album, out on 25 September 1993, from the point at which they began taking in elements from well outside thrash metal.

Overkill's sixth album, released in March 1993: their first for Atlantic alone, and the first with drummer Tim Mallare.

The Missing Link finds RAGE in a phase that layers heavy riffing, dramatic movement and introspective color onto Rage’s speed-metal sharpness.

Sepultura's fifth album, released in 1993. It was made with Andy Wallace at Rockfield Studios in South Wales, and it is the record on which they step into groove metal.

Voivod's seventh studio album, from 1993, with the seventeen-minute "Jack Luminous" and a Pink Floyd cover.

Force of Habit by EXODUS: track list, Spotify player and English liner notes on METAL BOOST.

Kreator's sixth studio album, from October 1992 and the first on which they brought industrial music into their writing.

Countdown to Extinction streamlines some of the intricate thrash complexity of Rust in Peace and brings thick riffs, clear choruses and heavy groove to the front.

Ministry's fifth album, issued by Sire in 1992. Al Jourgensen and Paul Barker produced it, and it was recorded between March 1991 and May 1992.

Vulgar Display of Power turns low, rolling groove into weight rather than depending only on speed.

Trapped! brings sharp guitar riffing, mobile rhythm and Peavy Wagner’s distinctive vocal together at high density.

The Ritual tightens Testament’s earlier thrash attack and puts thick riffs and heavy groove at the front.

Attack of the Killer B's gathers ANTHRAX B-sides, covers and experiments, including a collaboration with Public Enemy that fused metal and rap.

Death's fourth album, out on 22 October 1991. Two members of Cynic and bassist Steve Di Giorgio play on it, and it became the reference point for technical death metal.

The Human Factor brings Metal Church’s sharp guitar attack, heavy-moving rhythm and Mike Howe’s forceful voice into a focused whole.

Metallica, widely known as The Black Album, streamlines some of the band’s more complex thrash construction and brings low, heavy riffs and larger melody to the front.

Morbid Angel's second album, issued by Earache on 22 May 1991. It is slower than the debut and carries an audible debt to classical music.

Outrage's fourth album, out on 25 October 1991. It was their first recorded abroad, produced by Stefan Kaufmann, formerly of Accept.

Overkill's fifth album, released in September 1991: the first as a five-piece with two guitarists, bringing elements of doom into their thrash.

Sepultura's fourth album, released in 1991. It was made at Morrisound in Tampa with Scott Burns, and it has been called the point at which their death-thrash reached its conclusion.

Voivod's sixth studio album, from 1991, produced by Terry Brown of Rush fame and turned towards alternative rock.

Never, Neverland finds ANNIHILATOR in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Persistence of Time finds ANTHRAX in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Death's third album, out on 16 February 1990. It drops the gore of the first two records for social subject matter and raises the level of playing a step, and it is the turn in the band's course.

Act III finds DEATH ANGEL in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Impact Is Imminent finds EXODUS in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Kreator's fifth studio album, from November 1990, recorded in Hollywood and closing their 1980s thrash period.

Rust in Peace finds MEGADETH in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Obituary's second album, out on 19 September 1990. It was cut at Morrisound Recording in Tampa with Scott Burns producing, and it is one of the records by which Florida death metal is measured.

Outrage's third album, out on 10 September 1990. It extends the two before it while opening out the arrangements to give the singing room.

Cowboys from Hell finds PANTERA in a phase that pursues pressure that reaches the body through heavy riffs and clinging rhythm rather than speed.

Reflections of a Shadow finds RAGE in a phase that combines racing riffs, layered chorus and narrative melody to paint power metal on a large emotional scale.

Seasons in the Abyss is a useful way to hear SLAYER from a different angle within the 1990 catalogue.

Suicidal Tendencies' fifth album, released by Epic in 1990. It is the first with bassist Robert Trujillo and the last studio record with drummer R.J. Herrera, and it moves the band from crossover toward thrash metal proper.

Souls of Black finds TESTAMENT in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.