thehistoryofthrashpart11

  

PART XI.
THE SECOND WAVE OF THRASH METAL. THE EAST COAST SCENE.
(1987-1991)

THE EAST COAST SCENE

Centered around New York. The East Coast scene has a more punkish approach to thrash compared to the more technical Bay Area scene. Rather aggression than technicality could be a way to describe the scene around New York and New Jersey. Anthrax were of course the gods in the big apple. But Overkill, Toxik, Whiplash, Demolition Hammer, Nuclear Assault and S.O.D. were also quite popular.

Crossover was a popular style in the area, S.O.D., M.O.D., Cro-Mags and Leeway were bands that mixed hardcore and thrash metal. Other bands that played thrash in the area in the late eighties were; Blessed Death, Carnivore, Gothic Slam, I.N.C., C.I.A., Harter Attack, Believer, Toximia, Meanstreak, The Great Kat, Anvil Bitch, Die Happy, Fantom Warior, Hades, Deadly Blessing, Jersey Dogs, Faith or Fear, E-X-E-, Slaughter House, Death Mask, Scatterbrain and Prong.

L'Amour was a rock club in New York that booked heavy bands from other cities and countries and it was a place were thrash thrived. Megaforce Records also had their office in New York. A record label founded by Jon and Marsha Zazula who had bands like Metallica, Anthrax, Testament, Manowar, Overkill, Exciter, S.O.D., and Raven signed to their roster. Bobby Blitz of Overkill referred to the Bay Area scene as a seven course meal and the East Coast was more meat and potatoes thrash.

ANTHRAX (1987-1991)

In 1987 Anthrax released their breakthrough album Among the Living, the record that catapulted them onto the international stage. With songs like "Indians", "Caught in a Mosh" and the title track "Among the Living", the album showcased their signature blend of speed, humor, and pop‑culture obsession. Their lyrics drew heavily from movies, comic books, and Stephen King novels, giving Anthrax a personality that stood apart from the darker themes dominating most thrash bands. That same year they surprised fans with the I’m the Man EP, one of the earliest rap‑metal hybrids. While it earned them attention outside the metal world, some longtime thrash fans were skeptical of the band’s comedic and genre‑bending direction.

In 1988 the band began work on their fourth studio album, State of Euphoria. Although the record didn’t quite reach the critical heights of its predecessor, it produced one of Anthrax’s biggest hits: their cover of Trust’s "Antisocial", which became a staple of MTV’s Headbangers Ball. Following the album’s release, Anthrax toured extensively, sharing stages with Living Colour, Exodus, and Helloween, further expanding their audience and solidifying their reputation as one of the most energetic live acts in thrash.

By 1990 Anthrax shifted gears creatively. Their fifth album, Persistence of Time, moved away from the silliness and comic‑book humor of earlier releases and embraced a darker, more serious tone. The music was tighter, more technical, and more mature, reflecting the band’s desire to evolve beyond the "fun thrash" label. Once again, a cover song became the album’s breakout hit, this time Joe Jackson’s "Got the Time", which received heavy rotation on MTV and helped introduce the band to new listeners.

In 1991 Anthrax returned to their genre‑blending instincts with "Bring the Noise", a collaboration with Public Enemy that pushed rap‑metal into the mainstream years before it became a trend. The song was a major success and led to a joint tour with Public Enemy, a groundbreaking moment that brought metal and hip‑hop audiences together in a way no band had attempted at that scale. By the end of 1991, Anthrax had firmly established themselves as one of the most innovative and unpredictable bands in the thrash scene.

Anthrax

OVERKILL (1987-1991)

In 1987 Overkill released their second full‑length album Taking Over, a record that showed the band fully embracing a more traditional thrash metal sound compared to their rawer debut. The production was noticeably sharper, thanks in large part to Alex Perialas’ studio work, and the album’s release through Megaforce in cooperation with Atlantic Records gave Overkill their first taste of major‑label distribution. One of the standout tracks, "In Union We Stand", became an anthem for the band, and Overkill filmed their first music video to promote both the song and the album. A European tour followed, this time alongside German metal giants Helloween, helping Overkill expand their fanbase overseas.

Later that same year, Overkill returned to their punk roots with a fiery cover of Subhumans’ "Fuck You", which became the centerpiece of their 1987 EP !!!Fuck You!!!, accompanied by several live recordings. Around this time, founding drummer Rat Skates left the band, and his departure marked the end of Overkill’s original lineup. He was replaced by Bob “Sid” Falck, whose more precise playing helped push the band further into thrash territory.

In 1988 Overkill once again entered the studio with Alex Perialas to record Under the Influence. Although the album contained strong material, it felt somewhat rushed compared to their earlier work, and the reception was more mixed. Still, the single "Hello from the Gutter" became a fan favorite and received frequent rotation on MTV’s Headbangers Ball, keeping the band visible during a competitive period for thrash.

Overkill rebounded in 1989 with The Years of Decay, widely regarded as one of their finest achievements. Produced by Terry Date, who would later become known for his work with Pantera. The album showcased a broader range of songwriting, from blistering thrashers to longer, more atmospheric tracks. The ten‑minute doom‑laden epic "Playing with Spiders/Skullkrusher" demonstrated a new level of ambition, while the high‑energy "Elimination" became the album’s breakout track and received its own music video. Overkill toured extensively with Testament to support the release, solidifying their reputation as one of the most reliable and hard‑working bands in the scene.

In 1990 the band suffered a major blow when longtime guitarist and primary songwriter Bobby Gustafson left the group after internal tensions reached a breaking point. Many fans feared that Overkill would struggle without him, but the band chose to move forward by recruiting two guitarists, Rob Cannavino and Merritt Gant to fill the void. With this revamped lineup, Overkill returned to the studio with Terry Date and recorded Horrorscope, released in 1991. The album quickly silenced any doubts, becoming one of the most acclaimed records in their catalog and proving that Overkill could not only deal but thrive in these situations.

However, the Horrorscope tour brought another setback when drummer Sid Falck decided to leave the band, admitting that he no longer felt connected to thrash metal. He was replaced by Tim Mallare of M.O.D., who would go on to become one of Overkill’s longest‑serving drummers. Despite the turbulence, this period cemented Overkill’s reputation as one of the most resilient and consistent bands in the thrash metal genre.

Overkill

NUCLEAR ASSAULT (1987–1991)

Nuclear Assault were at their peak during these years. In 1988 they released Survive, a politically charged, high‑energy thrash album that earned them significant MTV exposure through the video for "Brainwashed". They followed it with Handle with Care in 1989, which became their most successful record, charting internationally and solidifying their reputation as one of the East Coast’s premier thrash bands.

Nuclear Assault toured relentlessly, including major European festivals and U.S. club circuits. In 1991 they released Out of Order, an album recorded under strained circumstances due to internal tensions and burnout. Although it contained strong moments, the band’s chemistry was beginning to fracture, and the early ’90s marked the start of a decline in activity.

Nuclear Assault

TOXIK (1987–1991)

Toxik were one of the most technical thrash bands of the era. In 1987 they released their debut World Circus, a fast, intricate album showcasing Josh Christian’s virtuosic guitar work and Mike Sanders’ high‑pitched vocals.

They followed it with Think This in 1989, a more progressive and socially aware record featuring new vocalist Charles Sabin. The album pushed their sound into even more complex territory, blending thrash with elements of progressive metal. Despite critical praise, Toxik struggled with limited label support and the growing shift away from technical thrash. By 1991 the band had largely gone quiet, though their influence on later prog‑thrash acts remained strong.

WHIPLASH (1987–1991)

Whiplash entered a transitional period after their early speed‑thrash classics. In 1987 they released Ticket to Mayhem, a darker and more aggressive follow‑up to their debut. The band toured extensively but faced lineup instability, including changes in drummers and vocalists. In 1990 they returned with Insult to Injury, featuring Glenn Hansen on vocals, which introduced a more melodic and traditional heavy metal influence into their sound.

While the album showcased strong musicianship, it divided fans who preferred the raw ferocity of their earlier work. Despite the challenges, Whiplash maintained a loyal underground following and continued performing throughout the period.

BLESSED DEATH (1987–1991)

Blessed Death remained active in the New Jersey underground during these years, still pushing their intense, high‑pitched, apocalyptic brand of thrash. After the release of Destined for Extinction in 1987, the band continued performing regionally but struggled with label support and lineup stability. They wrote new material and played scattered shows, but no new full‑length album emerged before they faded into inactivity in the early ’90s. Despite the silence, their two albums grew into cult classics among fans of extreme, high‑energy thrash.

GOTHIC SLAM (1987–1991)

Gothic Slam, from New Jersey, were active and rising during this period. Their debut Killer Instinct came out in 1988, showcasing a gritty, East Coast thrash sound with strong hardcore influences. They followed it with Just a Face in the Crowd in 1989, which earned them attention on MTV’s Headbangers Ball and helped them secure opening slots with major thrash acts. By the early ’90s they were still performing, but like many thrash bands, they struggled as the scene began to shrink.

HADES (1987–1991)

Hades spent these years navigating lineup changes and label issues. After releasing Resisting Success in 1987, A technical, progressive‑leaning power thrash album, they followed it with If at First You Don’t Succeed in 1988. Both albums earned strong underground praise, but internal instability slowed their momentum. By 1989–1990 the band had largely gone quiet, with members drifting into other projects. Hades wouldn’t fully return until the mid‑’90s, but their late‑’80s output remained highly respected.

E‑X‑E (1987–1991)

E‑X‑E, from Buffalo, continued operating in the underground after releasing their 1986 debut Stricken by Might. Between 1987 and 1991 they played regionally and worked on new material, eventually releasing their second album Sicker Than I Thought in 1990. The record leaned into a heavier, more aggressive thrash sound, but limited distribution kept them from breaking out nationally. By the early ’90s the band’s activity slowed as the thrash scene contracted.

INDESTROY (1987-1991)

Indestroy from Maryland spent these years buried deep in the underground, operating far from the major coastal thrash centers. Their 1987 debut had already marked them as one of the more vicious East Coast‑adjacent acts, and between 1987 and 1991 they continued writing and performing regionally while shaping the darker, more chaotic sound that defined their 1990 album Senseless Theories. Limited label support kept them obscure, but tape traders kept their name alive.

M.O.D. (1987-1991)

M.O.D. from New York, but operating outside the NYC thrash core. Were extremely active between 1987 and 1991. Former S.O.D. frontman Billy Milano kept the band moving with a with the release U.S.A. for M.O.D. (1987) and Gross Misconduct (1989) as well as relentless touring. Their mix of crossover thrash, hardcore attitude, and Milano’s biting humor made them a fixture of the national circuit, bridging the gap between S.O.D.’s roots and the broader American thrash landscape.

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