PART X.
THE SECOND WAVE OF THRASH METAL. LOS ANGELES THRASH.
(1987-1991)
The United States had several bigger thrash metal scenes during the late eighties, We just covered the main one in Part IX, which was the Bay Area scene with bands like Testament, Exodus, Vio-Lence and Death Angel on the rise. But America had several other scenes worth mentioning, Chicago, Boston, Los Angeles and the East coast of New York and New Jersey were areas with several great thrash metal bands coming up. Los Angeles also had a big underground thrash scene with some big bands as well even though it was the glam and the strip that caught most peoples eyes back then.
LOS ANGELES SCENE
Los Angeles was the place that was looked down upon by most thrashers. The flamboyant ways of the Glam scene around the strip was something that most thrashers disliked, the glam and glitz, makeup and excessive hairspray Glam and sleaze rock was the main thing in Los Angeles with bands like Poison and Mötley Crüe in the forefront. But L.A. also had many great thrash bands.
Megadeth was of course legends of Los Angeles and Slayer from Huntington Park was inside L.A.'s county. Suicidal Tendencies was another hugely important band from Los Angeles that started out more in the hardcore field before slowly taking steps towards thrash in the late eighties. L.A. also had bands like Viking, Agent Steel, Evildead, Holy Terror, Bloodcum, Deliverance, Dark Angel, Heretic, Hirax, Dr. Know, Detenté, Tourniquet and Vengeance Rising. Los Angeles was very diverse scene were all types of thrash could thrive. The christian thrash metal scene had it's headquarters in Los Angeles with bands like Deliverance, Tourniquet and Vengeance Rising.
Megadeth was of course legends of Los Angeles and Slayer from Huntington Park was inside L.A.'s county. Suicidal Tendencies was another hugely important band from Los Angeles that started out more in the hardcore field before slowly taking steps towards thrash in the late eighties. L.A. also had bands like Viking, Agent Steel, Evildead, Holy Terror, Bloodcum, Deliverance, Dark Angel, Heretic, Hirax, Dr. Know, Detenté, Tourniquet and Vengeance Rising. Los Angeles was very diverse scene were all types of thrash could thrive. The christian thrash metal scene had it's headquarters in Los Angeles with bands like Deliverance, Tourniquet and Vengeance Rising.
MEGADETH (1987-1991)
In 1987 Dave Mustaine fired Chris Poland and Gar Samuelson after their escalating substance problems made it impossible for them to perform consistently at the level Dave Mustaine required. During the auditions for a new guitarist, a teenage Jeff Loomis (later of Nevermore) impressed the band, but the job initially went to Jay Reynolds of Malice. Reynolds struggled to record the solos to Mustaine’s standards, so Jeff Young was brought in instead. That same year Megadeth toured the U.S. with Overkill before embarking on their first world tour, gaining momentum as one of the fastest‑rising thrash bands. They also landed the coveted slot opening for Alice Cooper, one of Mustaine’s childhood heroes.
In 1988 Megadeth released their third studio album So Far, So Good… So What!, a record with a punkier edge, not least because of their cover of the Sex Pistols’ "Anarchy in the U.K." Riding the success of Peace Sells, the band secured a spot on the Monsters of Rock festival alongside Kiss, Guns N’ Roses, Iron Maiden, and David Lee Roth. That same year Mustaine wrote "In My Darkest Hour" after learning of Cliff Burton’s death, dedicating the song to his former bandmate.
But chaos followed in the Megadeth camp. Both Jeff Young and drummer Chuck Behler were fired in late 1988 and Mustaine’s reputation for being difficult, combined with the band’s heavy drug and alcohol use, pushed Megadeth to the brink. In 1989 Mustaine was arrested for drunk driving and forced into a 12‑step program, where he finally sobered up. Around this time, Nick Menza joined as the bands new drummer.
In 1990 Megadeth began searching for a new lead guitarist. Lee Altus of Heathen and Eric Meyer of Dark Angel auditioned, but the band ultimately chose Marty Friedman, whose melodic phrasing and exotic scales fit perfectly with Mustaine’s vision. With a sober Mustaine and a revitalized lineup, Megadeth entered Rumbo Studios to record Rust in Peace. The album featured longer, more complex compositions and some of the fastest and most technical material the band had ever written.
Released in 1990, it became a landmark in thrash metal history and is still hailed as one of the greatest thrash albums ever made. Singles like "Hangar 18" and "Holy Wars… The Punishment Due" became instant classics, and Ed Repka once again delivered an iconic cover art. The band also released the home video Rusted Pieces, documenting the making of the album.
With Friedman and Menza now firmly in place, Megadeth joined Slayer, Suicidal Tendencies, and Testament on the legendary Clash of the Titans tour. One of the last major thrash tours before the genre’s commercial decline. This period marked Megadeth’s transformation from a chaotic, self‑destructive band into a disciplined, world‑class metal machine.
Megadeth
SLAYER (1987–1991)
After the massive success of Reign in Blood in 1986. A record that redefined extremity in metal. Slayer faced the challenge of how to follow it. Rather than trying to out‑speed themselves, the band deliberately shifted gears for their fourth album, South of Heaven (1988), released through Def Jam. The album slowed the tempo, introduced more melody, and leaned into a darker, more atmospheric sound. While it debuted at #57 on the Billboard 200 and performed well commercially, reviews were mixed at the time, with some fans unsure how to react to Slayer’s more restrained approach. Over the years, however, South of Heaven has become recognized as a crucial part of the band’s evolution.
By 1990 Slayer were ready to strike harder again. They released Seasons in the Abyss on Rick Rubin’s new label, Def American. The album blended the atmospheric darkness of South of Heaven with the speed and aggression of Reign in Blood, creating one of the most balanced and complete records in their catalog. It debuted at #44 on the Billboard chart. Their highest position to date. They also produced the now‑iconic music video for the title track, filmed in Egypt among the pyramids and the Nile. The video became one of the most memorable visual statements in thrash metal history.
In 1990 Slayer joined Megadeth and Suicidal Tendencies for the European leg of the Clash of the Titans tour, a massive event that brought together some of the biggest names in thrash. In 1991 the tour continued in the United States with Anthrax and Alice in Chains, drawing huge crowds and marking the last major thrash package tour before the rise of grunge and alternative rock reshaped the metal landscape. Slayer capped off this era by releasing Decade of Aggression in 1991, a double live album that captured the band at their peak. This period solidified Slayer’s reputation as one of the most powerful live acts in metal and marked the end of their classic run.
AGENT STEEL (1987–1991)
By 1987 Agent Steel were already in turmoil. Vocalist John Cyriis had left the band after internal conflicts, legal disputes, and disagreements over musical direction. The band attempted to continue without him, briefly operating under the name Sanctuary (not to be confused with the Seattle band) and later Skeptics Apocalypse, but nothing stable materialized.
Throughout this period, Cyriis remained a mysterious and polarizing figure, and his absence effectively froze the band’s momentum. Agent Steel did not release any new studio material between 1987 and 1991, and the group slowly dissolved into inactivity. Despite the silence, their early albums continued to grow in cult status, especially among fans of speed metal and conspiracy‑themed power thrash.
Throughout this period, Cyriis remained a mysterious and polarizing figure, and his absence effectively froze the band’s momentum. Agent Steel did not release any new studio material between 1987 and 1991, and the group slowly dissolved into inactivity. Despite the silence, their early albums continued to grow in cult status, especially among fans of speed metal and conspiracy‑themed power thrash.
Agent Steel
DARK ANGEL (1987–1991)
Dark Angel entered their most intense and creative period during these years. In 1989 they released the monumental Leave Scars, their first album with Ron Rinehart on vocals. The record was dense, technical, and relentlessly aggressive, pushing the boundaries of what thrash could be. The band toured heavily, earning a reputation for extreme speed and precision. In 1991 they released Time Does Not Heal, famous for its tagline "9 songs, 67 minutes, 246 riffs".
The album embraced a more progressive and complex approach, with longer songs and socially conscious lyrics. Although critically praised, the sheer density of the material made it a challenging listen for some fans. Internal exhaustion and industry pressures eventually led to the band going on hiatus shortly after the album’s release.
The album embraced a more progressive and complex approach, with longer songs and socially conscious lyrics. Although critically praised, the sheer density of the material made it a challenging listen for some fans. Internal exhaustion and industry pressures eventually led to the band going on hiatus shortly after the album’s release.
EVILDEAD (1987–1991)
Evildead were one of the standout thrash bands from Los Angeles. Formed by members of Agent Steel and Abattoir, they released their debut Annihilation of Civilization in 1989, a politically charged and aggressive thrash album that earned them a strong following.
The video for "Annihilation of Civilization" received MTV airplay, boosting their visibility. In 1991 they released The Underworld, which leaned into a darker and more technical direction. Despite strong material, internal issues and the changing musical climate hindered their momentum, but they remained a cult favorite among fans of West Coast thrash.
VIKING (1987–1991)
Viking were active but turbulent during these years. Their 1988 debut Do or Die showcased fast, raw thrash with a strong underground appeal. They followed it with Man of Straw in 1989, a more polished and technical album that demonstrated significant growth.
However, several members left the band due to personal and religious reasons, and by 1990 Viking had effectively dissolved. Despite their short run, their second album became a cult classic among fans of technical thrash.
However, several members left the band due to personal and religious reasons, and by 1990 Viking had effectively dissolved. Despite their short run, their second album became a cult classic among fans of technical thrash.
HOLY TERROR (1987–1991)
Holy Terror were one of the most intense and underrated thrash bands of the late ’80s. In 1987 they released their debut Terror and Submission, a ferocious blend of speed metal, thrash, and dark, almost apocalyptic themes.
The album’s raw aggression and intricate guitar work earned them a strong cult following. They quickly followed it with Mind Wars in 1988, a more refined but equally relentless record that showcased their technical growth and sharpened songwriting. Despite critical praise and a dedicated underground fanbase, the band struggled with lineup instability and limited label support.
By 1989–1990 internal tensions and exhaustion began to take their toll, and Holy Terror quietly dissolved before the thrash scene’s decline in the early ’90s. Their brief run left behind two albums that are now considered cult classics of American thrash.
The album’s raw aggression and intricate guitar work earned them a strong cult following. They quickly followed it with Mind Wars in 1988, a more refined but equally relentless record that showcased their technical growth and sharpened songwriting. Despite critical praise and a dedicated underground fanbase, the band struggled with lineup instability and limited label support.
By 1989–1990 internal tensions and exhaustion began to take their toll, and Holy Terror quietly dissolved before the thrash scene’s decline in the early ’90s. Their brief run left behind two albums that are now considered cult classics of American thrash.
HIRAX (1987–1991)
By 1987 Hirax had already undergone major lineup changes, and vocalist Katon W. De Pena left the band due to creative disagreements. Without their charismatic frontman, Hirax splintered into different factions, with some members forming the short‑lived band Phantasm. Hirax themselves were largely inactive during this period, releasing no new studio material and fading from the thrash spotlight. Katon continued performing in various underground projects, keeping the spirit of Hirax alive until the band’s eventual reformation in the mid‑1990s.
Hirax
SUICIDAL TENDENCIES (1987–1991)
Between 1987 and 1991, Suicidal Tendencies evolved from Venice Beach hardcore punks into one of the defining crossover thrash bands in America. In 1987 they released Join the Army, marking their shift toward a more metallic sound and introducing guitarist Rocky George, whose lead work became central to their identity. After major lineup changes, the band returned in 1988 with How Will I Laugh Tomorrow When I Can’t Even Smile Today, a more polished and emotional record that earned them heavy MTV rotation with "Trip at the Brain."
By 1990 they had fully embraced thrash with Lights… Camera… Revolution!, featuring new bassist Robert Trujillo, whose funk‑infused playing pushed the band into fresh territory. Songs like "You Can’t Bring Me Down" helped the album break through to a wider audience. Suicidal spent these years touring relentlessly, including their high‑profile slot on the U.S. leg of the Clash of the Titans tour in 1990–1991. By the end of this period, they had become one of the most influential crossover acts of the era, bridging punk, thrash, and funk in a way no one else could.
Suicidal Tendencies
CRYPTIC SLAUGHTER (1987-1991)
Suicidal Tendencies
Cryptic Slaughter from Santa Monica, California were one of the most important crossover bands outside the Bay Area. Between 1987 and 1991 they were in constant motion, releasing Money Talks in 1987 and Stream of Consciousness in 1988. Their sound grew more political and musically complex as the decade progressed, but internal tensions and lineup changes eventually slowed them down. Even so, their influence on both thrash and hardcore remained massive.
EXCEL (1987-1991)
Excel from Venice, California were part of the Venice skate‑crossover world rather than the LA metal scene. Between 1987 and 1991 they were at their peak, releasing The Joke’s on You in 1989 and touring heavily with punk and metal bands alike. Their sound blended thrash, hardcore, and the gritty, sun‑bleached attitude of Venice’s skate culture. They were closely tied to Suicidal Tendencies and the Venice "family" and their influence spread far beyond their modest commercial reach.
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