PART XIII.
THE SECOND WAVE OF THRASH METAL. CANADIAN THRASH METAL.
(1987-1991)
By the late 1980s, Canada had developed one of the most distinctive thrash landscapes in the world, not a single unified scene, but a constellation of regional identities shaped by geography, isolation, bilingual culture, and the country’s sprawling distances. Between 1987 and 1991, Canadian thrash was at its creative peak, producing bands that were faster, stranger, more technical, and often more extreme than their American counterparts. What tied them together wasn’t a shared sound, but a shared sense of being outside the industry spotlight, forced to build their own ecosystems in cities separated by hundreds or thousands of kilometers.
THE SCENES
QUÉBEC
Québec’s thrash scene was the most experimental in Canada, driven by its bilingual culture and a strong underground network. Voivod from Jonquière set the tone with their progressive, sci‑fi evolution, while Montreal’s D.B.C. and Obliveon pushed technical thrash into futuristic territory. The province also had a vibrant second tier: Eudoxis from Montreal, known for their speed‑thrash intensity and striking visual identity, and Entropy, who added a heavier, more aggressive edge to the local scene. Even the wilder acts like Soothsayer and Aggression carried that unmistakable Québec mix of speed, chaos, and ambition.
ONTARIO
Ontario was the backbone of Canadian thrash, built on the early speed‑metal foundations of Anvil in Toronto and Exciter in Ottawa, the grandfathers of the entire Canadian metal movement. By the late ’80s, the province was dominated by Razor from Guelph/Toronto, whose violent, stripped‑down attack defined the region, and Sacrifice from Toronto, who perfected a tight, disciplined thrash style. Ontario’s underground was equally important: Malhavoc from Toronto began as a raw thrash band before mutating into industrial extremity, while Overthrow, also from Toronto, delivered a death‑tinged thrash sound that became a cult favorite. Ontario remained the most aggressive and hard‑hitting thrash hub in the country.
WESTERN CANADA
Western Canada had a smaller but fiercely intense scene centered around Vancouver and the Alberta cities. Infernäl Mäjesty from Vancouver gave the region its dark, sinister identity with None Shall Defy, while Disciples of Power from Edmonton pushed toward a brutal, technically ambitious hybrid of thrash and early death metal. Annihilator, originally from Ottawa but later based in Vancouver, became the West Coast’s technical flagship with Alice in Hell and Never, Neverland. The western scene didn’t have the infrastructure of Ontario or the artistic ecosystem of Québec, but it produced some of the rawest and most uncompromising thrash in the country.
CANADIAN THRASH METAL
VOIVOD (Jonquière, Québec)
By 1987, Voivod had already evolved far beyond traditional thrash. Killing Technology (1987) and Dimension Hatröss (1988) pushed the genre into progressive, sci‑fi territory, blending dissonant riffs with conceptual storytelling. In 1989 they released Nothingface, their breakthrough, which brought them international attention and proved that a band from a small industrial town in Québec could redefine what thrash metal could be. Between 1987 and 1991, Voivod were Canada’s most innovative metal export.
SACRIFICE (Toronto, Ontario)
Sacrifice were at their peak during this period. Forward to Termination (1987) and Soldiers of Misfortune (1990) showcased a band that combined speed, precision, and a bleak, almost apocalyptic atmosphere. They toured heavily across Canada and the U.S., becoming one of the country’s most respected thrash acts. Their sound was pure Ontario: tight, disciplined, and aggressive without losing clarity.
Sacrifice - Soldiers of Misfortune
RAZOR (Guelph/Toronto, Ontario)
Razor were one of the most relentless thrash bands of the era. Between 1987 and 1991 they released Custom Killing (1987), Violent Restitution (1988), and Shotgun Justice (1990), each one faster and more vicious than the last. Their music was stripped‑down, violent, and uncompromising. The sound of Canadian thrash at its most feral. Razor’s influence would echo through both thrash and early death metal scenes.
ANNIHILATOR (Ottawa/Vancouver)
Annihilator exploded onto the scene with Alice in Hell (1989), a technical masterpiece built around Jeff Waters’ precision riffing. Never, Neverland (1990) cemented their reputation as one of the most skilled thrash bands in the world. Though they later became associated with Europe, their roots were firmly Canadian, and between 1987 and 1991 they were redefining technical thrash from coast to coast.
Annihilator - Stonewall
INFERNÄL MÄJESTY (Vancouver, British Columbia
Though their landmark album None Shall Defy came out in 1987, its influence carried through the entire period. Infernäl Mäjesty were darker and more sinister than most thrash bands, blending early death metal elements with razor‑sharp riffing. They remained active in the underground, playing shows across Western Canada and maintaining a cult following that grew steadily through tape trading.
D.B.C.: DEAD BRAIN CELLS (Montreal, Québec)
DBC were one of the most unusual bands in the Québec scene. Their 1987 debut mixed thrash with quirky, almost progressive tendencies, while Universe (1989) pushed into conceptual, space‑themed territory. They toured extensively in Canada and Europe, becoming a cult favorite among fans who wanted something stranger than standard thrash.
SLAUGHTER (Toronto, Ontario)
Though often associated with death metal, Slaughter were still active in the late ’80s, and their influence on the Canadian extreme scene was enormous. Their raw, primitive style bridged the gap between thrash and the emerging death metal movement, especially in Ontario.
OBLIVEON (Montreal, Québec)
Obliveon were one of the most forward‑thinking technical thrash bands in Canada. Their 1990 album From This Day Forward blended precision, atmosphere, and futuristic themes, aligning them with the more progressive side of the Québec scene. They were part of the province’s shift toward technicality and extremity.
SOOTHSAYER (Beauport, Québec)
A cult favorite in the Québec underground, Soothsayer blended thrash with humor, speed, and a punk‑infused energy. Their 1989 album Have a Good Time became a staple of the local scene, and they toured heavily across the province.
CONCLUSION
Between 1987 and 1991, Canadian thrash metal reached its creative peak. Québec pushed the genre into technical and progressive territory, Ontario delivered precision and aggression, and Western Canada contributed raw, crossover‑leaning intensity. The country’s vast distances and lack of major industry support forced bands to innovate, and the result was a national thrash identity that was sharper, stranger, and more adventurous than anything happening south of the border.
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