Thrash Metal 2000s Albums

Kreator's twelfth studio album, from January 2009 and the first since Pleasure to Kill recorded live in the studio.

Endgame reconnects Megadeth with speed, intricate riffs and high-level ensemble playing.

Outrage's tenth album, out on 25 November 2009. It is the first after Naoki Hashimoto's official return, and it was recorded at Studio Fredman.

Sepultura's eleventh studio album, from January 2009, a concept record built on A Clockwork Orange.

Retribution integrates the cutting edge of thrash metal with metalcore’s heaviness at high density.

World Painted Blood condenses Slayer’s long-developed language of violent thrash metal into a sharp late-career statement.

Voivod's twelfth studio album, from 2009: the last to use what Piggy left behind, and the last with Jason Newsted on bass.

Killing Season uses Death Angel’s fast riffs and aggressive rhythm as a base while threading melody and shadow through each song.

Let There Be Blood revisits familiar material through the voice, production weight and arrangement sense of its recording period.

This Present Wasteland is classic heavy metal built from Metal Church’s thick guitar, hard rhythm and weighty vocal presence.

Death Magnetic brings Metallica’s long forms, shifting riffs and heavy rhythmic attack back to the front.

Carved in Stone pairs Peavy Wagner’s forceful voice and Victor Smolski’s varied guitar work with a blend of heavy metal weight and symphonic breadth.

The Formation of Damnation reunites Testament around high-tension riffs, precise rhythm and Chuck Billy’s powerful voice.

The Haunted's sixth album, from September 2008, eleven tracks running 39:03.

Shogun takes Trivium into extended metal forms through complex structures, sharp guitars and Matt Heafy’s strong vocal.

Metal puts Annihilator’s love of heavy metal in the foreground through sharp riffs and changing arrangements.

The Atrocity Exhibition... Exhibit A pushes Exodus’s thrash attack toward an extreme through slicing riffs and relentlessly accelerating rhythm.

The Blackening joins massive riffs, complex structures, and Robb Flynn’s urgent voice into a unified flow.

United Abominations connects political frustration to intricate guitar work with a renewed sense of attack.

Ministry's eleventh album, out on 18 September 2007. It includes a reading of the Doors' Roadhouse Blues.

Municipal Waste's third album, issued by Earache Records in 2007. It was inducted into the Decibel Hall of Fame in 2020.

Overkill's fourteenth album, from October 2007 on Bodog Music, which reunited them with Jon and Marsha Zazula of Megaforce; Lamb of God's Randy Blythe guests.

Threads of Life gathers rough riffs, fluid lead guitar, and Brian Fair’s roar into a forceful whole.

Celtic Frost's sixth album, from May 2006. It was their first new recording in sixteen years and their last studio album.

A Light in the Dark centers Metal Church on cutting riffs, low heavy rhythm, and strong vocal presence.

Ministry's tenth album, out on 2 May 2006, and one of the records their biography places in its political run.

Speak of the Dead places an orchestral suite beside direct heavy-metal songs, showing Rage at two different scales.

Sepultura's tenth studio album, from March 2006, built on Dante's Divine Comedy and the last with Igor Cavalera.

Christ Illusion puts Slayer’s cutting riffs, accelerating drums, and Tom Araya’s furious presence in the foreground.

The Haunted's fifth album, released on 30 October 2006: thirteen tracks whose titles all begin with The.

The Crusade pushes Trivium toward more classic thrash and heavy metal through rapid chugging, twin guitars, and hard rhythm.

Voivod's eleventh studio album, from July 2006, built from the guitar and bass tracks Piggy had recorded before he died.

Schizo Deluxe centers Jeff Waters’s cutting guitar around fast rhythm and uneasy melody.

Shovel Headed Kill Machine charges forward on rapid chugging, sharp guitar and a snarling vocal attack.

Kreator's eleventh studio album, from January 2005, produced by Andy Sneap and the record that settled their return.

Overkill's thirteenth album, released in March 2005 after a Japanese edition in February: the last with Tim Mallare, their drummer since 1993.

Ascendancy drives forward on cutting riffs, hard rhythm and vocals that move between screams and clean lines.

All for You keeps Annihilator’s cutting guitar work and bold shifts in arrangement while bringing more singable melody to the front.