Thrash Metal Albums - Page 2

Outrage's twelfth album, out on 11 October 2017 and mixed by Peter Tagtgren of Pain and Hypocrisy. It came in the band's thirtieth anniversary year.

Overkill's eighteenth album, released in February 2017: the first mixed by Andy Sneap, with a cover painted by Travis Smith.

Seasons of the Black places Rage’s power-metal speed and thrash sharpness inside a darker tonal world.

Sepultura's fourteenth studio album, from January 2017, produced by Jens Bogren and built on the robotisation of society.

The Haunted's ninth album, released on 25 August 2017: ten tracks running 38:00.

The Sin and the Sentence integrates Trivium’s thrash sharpness, metalcore aggression and melodic chorus work at a high level of tension.

For All Kings keeps Anthrax’s agile thrash attack while giving equal space to heavy groove, chorus lift and modern weight.

The Evil Divide brings together Death Angel’s lively speed and twisting guitar work in a tightly focused record.

Dystopia concentrates Megadeth’s sharp riffs, crooked structures and cold, pressurized atmosphere into a tightly focused record.

XI restates the sturdy appeal of traditional American heavy metal through hard riffs, heavy rhythm and commanding vocal lines.

Hardwired. to Self-Destruct places Metallica’s quick, explosive thrash instinct beside longer pieces that patiently accumulate weight.

The Devil Strikes Again reunites Rage’s speed-metal sharpness, heavy riff pressure and technical development in one aggressive flow.

Brotherhood of the Snake sharpens Testament’s Bay Area thrash force through modern density and precise execution.

Suicide Society pushes Annihilator’s sharp thrash picking and memorable songcraft at the same time.

A special album of 7 October 2015, built as two sides: covers of seven Japanese rock forebears, and five newly written songs.

Repentless puts Slayer’s merciless riffing, raw vocals and cutting lead guitar at the front of a stripped-down thrash assault.

Silence in the Snow places Trivium’s sharp heavy-metal riffs beside strong, fully sung clean vocals.

Blood In, Blood Out puts Exodus’s angular riffs and merciless rhythm attack at the front, unleashing the aggression of thrash metal.

Bloodstone & Diamonds connects Machine Head’s overwhelming weight with an expansive sense of long-form construction.

Overkill's seventeenth album, released in July 2014 with the Japanese edition first: number 31 on the Billboard 200, the highest placing of their career.

The Haunted's eighth album, released on 25 August 2014, fourteen tracks running 44:08.

Feast is built around Annihilator’s cutting riffs, tense rhythm work and technical guitar playing.

The Dream Calls for Blood gathers Death Angel’s tight-chopped riffs, rough vocal attack and tense rhythm work into a fierce thrash-metal statement.

Super Collider keeps Megadeth’s cutting guitar identity while giving more room to mid-tempo groove and vocal melody.

Generation Nothing puts Metal Church’s hard-chopped guitar, solid rhythm and rough vocal force at the front, reaffirming the power of traditional American heavy metal.

Ministry's thirteenth album, out on 6 September 2013, the year after the death of the guitarist Mike Scaccia.

Outrage's eleventh album, out on 5 June 2013. It is the second since Naoki Hashimoto's return and follows directly from the self-titled record before it.

Sepultura's thirteenth studio album, from October 2013, and the first Ross Robinson had produced for them since Roots seventeen years earlier.

Vengeance Falls packs Trivium’s sharp riffs, tight rhythm and memorable clean choruses into a focused, compact form.

Voivod's thirteenth studio album, from January 2013 and the first with Daniel Mongrain on guitar.

Kreator's thirteenth album, out on Nuclear Blast in June 2012 and a defining record of their later melodic period.

Ministry's twelfth album, out on 23 March 2012. Mike Scaccia, who died at the end of that year, plays guitar on it.

Overkill's sixteenth album, released in March 2012 and recorded at D.D. Verni's own Gear Recording Studios; it reached number 77 on the Billboard 200.

21 joins Rage’s cutting guitars, tight rhythms and constantly changing structures into power metal that is aggressive yet intelligent.

Fire From the Sky uses sharp thrash riffs, heavy breaks and rough vocals to create dark, aggressive metal.

Dark Roots of Earth joins Testament’s sharp thrash riffs, heavy groove and aggressive vocals into thrash metal with modern thickness.

Worship Music brings together Anthrax’s cutting thrash riffs, bouncing groove and commanding choruses to balance tradition with a modern punch.

Unto the Locust expands Machine Head’s groove-metal weight through low growling riffs, complex rhythm and long-form drama.

Thirteen combines Megadeth’s slicing riffs, restless rhythm and Dave Mustaine’s dry, sardonic vocal character.

Sepultura's twelfth studio album, from June 2011, their first for Nuclear Blast, and a record about time.

The Haunted's seventh album, released on 16 March 2011, twelve tracks running 42:21.

In Waves crosses Trivium’s sharp thrash riffs, breakdown weight and melodic choruses to display the band’s range.