Ruthless Metal: thehistoryofthrashpart24

PART XXIV.
THE RE-AWAKENING.
THE LEGACY BANDS
(1998-2004)

THE BIG FOUR IN TURBULENCE (1998-2004)

METALLICA (1998–2004)

Metallica entered the late nineties as the biggest metal band on the planet, but their direction during these years was anything but stable. In 1998 they released Garage Inc., a double‑disc collection combining newly recorded covers with their earlier Garage Days material. A year later they pushed further away from their thrash roots with S&M, a live collaboration with Michael Kamen and the San Francisco Symphony. The project produced only two new songs, but it showcased Metallica’s willingness to experiment far outside traditional metal boundaries.

In 2000 the band ignited one of the most controversial battles in music history when they sued Napster for distributing their songs for free. What Metallica viewed as a fight for artistic rights, many fans saw as greed and the backlash was immediate. The following year brought more turmoil when bassist Jason Newsted quit after clashing with James Hetfield over his side‑project Echobrain.

Metallica’s instability continued into 2002, when they unexpectedly collaborated with rapper Ja Rule on "We Did It Again", a move that baffled fans. With no permanent bassist, producer Bob Rock handled bass duties as the remaining trio began writing what would become St. Anger (2003). The album sold well but was heavily criticized for its abrasive drum sound, lack of guitar solos, raw, unpolished production and an overall lack of qualitative songs. During the St. Anger sessions the band held auditions for a new bassist, ultimately choosing Robert Trujillo in 2003.

Meanwhile, Jason Newsted resurfaced in Voivod and briefly served as Ozzy Osbourne’s live bassist, a reminder that even outside Metallica, he remained deeply connected to the metal world.

Metallica - St. Anger (2003)

MEGADETH (1998–2004)

Megadeth entered this era in a transitional state. Cryptic Writings (1997) had already pushed the band toward a more rock‑oriented sound, and by 1999 they went even further with Risk, an album widely ridiculed for its industrial and pop‑metal tendencies. The backlash was severe, and the record is still considered the lowest point in Megadeth’s career. That same year drummer Nick Menza was fired, Marty Friedman left the band, and Megadeth performed at Woodstock ’99 with a lineup already in flux.

In 2000 the band left Capitol Records and signed with Sanctuary. The following year they released The World Needs a Hero, a partial return to heavier territory. The band toured with AC/DC and attempted to rebuild momentum, releasing a remixed Killing Is My Business… and the live album Rude Awakening in 2002.

But disaster struck when Dave Mustaine suffered a severe nerve injury that temporarily prevented him from playing guitar. Megadeth disbanded, and long‑time bassist David Ellefson parted ways with Mustaine after a legal dispute. When Megadeth reformed around 2004, it was without Ellefson. Instead, Mustaine assembled a studio lineup including Vinnie Colaiuta, Jimmy Sloas and guest guitarist Chris Poland to record The System Has Failed. The album was praised for its slight return to thrashier songwriting, though reviews remained mixed. Later that year the Drover brothers, Shawn and Glen, joined the band and helped stabilize Megadeth for the next era.

SLAYER (1998–2004)

Slayer’s late‑90s period was marked by experimentation and division. In 1998 they released Diabolus in Musica, an album heavily influenced by the darker, groove‑oriented trends of the time. Many fans accused Slayer of flirting with nu‑metal, and the record is often cited as the weakest in their catalogue.

The band rebounded with God Hates Us All in 2001, a far more aggressive and violent album, though its release date, September 11th, 2001, created unfortunate timing and controversy. Despite the chaos, Slayer maintained a strong mainstream presence throughout the early 2000s, even as their older fanbase remained split on their modern direction.

Shortly after the album’s release, drummer Paul Bostaph left due to injury, and Dave Lombardo returned to the band, restoring a key part of Slayer’s classic identity.

Slayer - God Hates Us All (2001)

ANTHRAX (1998–2004)

Anthrax spent these years navigating label problems, lineup changes and shifting musical landscapes. In 1998 they released Volume 8: The Threat Is Real on the short‑lived Ignition Records, featuring guest appearances from Paul Crook and Dimebag Darrell. The album suffered from poor distribution..

In 2001 guitarist Rob Caggiano officially joined the band, bringing new energy and a more modern edge. Anthrax followed with We’ve Come for You All in 2003, a well‑received album that introduced the "Anthrax pentagram" logo and marked a creative high point of the John Bush era.

That same year the band re‑recorded classic material from the Turbin and Belladonna years for The Greater of Two Evils, with Bush delivering updated vocals. It would become his final studio work with Anthrax before Joey Belladonna’s eventual return.

THE BEST OF THE REST (1998-2004)

TESTAMENT (1998–2004)

Everything changed in 1999 for Testament. They assembled something of an all‑star lineup: Chuck Billy, Eric Peterson, James Murphy, Steve DiGiorgio and Dave Lombardo and recorded The Gathering. Released through Spitfire, the album marked a triumphant return to thrash, infused with the heaviness of their death‑metal period but driven by classic Testament riffing. Fans embraced it immediately, and the record is now considered one of the strongest releases of their entire career.

Shortly after the album’s release, James Murphy was diagnosed with a brain tumor. He underwent surgery and recovered, but tragedy struck again in 2001 when Chuck Billy was diagnosed with cancer. The Bay Area scene rallied around him, leading to the legendary Thrash of the Titans benefit concerts featuring Exodus, Vio‑lence, Heathen, Death Angel and a special reunion of Legacy with Alex Skolnick and Steve “Zetro” Souza. Skolnick’s appearance was his first with Testament since 1992, and fans immediately began hoping for a full return.

Billy recovered, and Testament entered the studio to re‑record classics from their early catalogue. The result was First Strike Still Deadly (2001), featuring returning members Alex Skolnick and John Tempesta alongside Steve DiGiorgio. It served as both a celebration of their legacy and a bridge toward the band’s eventual full‑scale reunion.

EXODUS (1998–2004)

In 1997 Gary Holt and Rick Hunolt reunited with Paul Baloff and Tom Hunting, bringing in Jack Gibson on bass. The lineup recorded the live album Another Lesson in Violence, a ferocious document of the band’s classic energy. But tensions with Century Media over promotion caused Exodus to split again in 1998. Tragically, this would be the final recording featuring Paul Baloff before his death.

In 2001 Exodus reunited for the Thrash of the Titans benefit shows, with Baloff returning to the stage. Around this time he suffered a stroke that affected his speech, and in early 2002 he suffered a second, fatal stroke. Steve "Zetro" Souza once again stepped in to fulfill the band’s live commitments, setting the stage for Exodus’ full‑scale comeback in the mid‑2000s.

In 2004 Exodus released Tempo of the Damned, It was an album that fully reignited the dead thrash metal scene. Sure Kreator, Destruction and Sodom had some success in Europe but it was Tempo of the Damned that put the then somewhat anonymous Exodus back on the map again as one of the worlds most iconic thrash metal bands. It was a perfect time for Exodus they were one of a few that played thrash metal in the U.S. in 2004. It was originally intended to be the big comeback album for Paul Baloff but he died prior to the album being made which put Steve 'Zetro' Souza back in the band for a second stint.

Exodus - Tempo of the Damned (2004)

FLOTSAM AND JETSAM (1998–2004)

Flotsam and Jetsam entered the new era with Unnatural Selection (1999), a heavier, groove‑driven album that marked their most aggressive sound since When the Storm Comes Down. In 2001 they followed with My God, but vocalist Eric A.K. soon stepped away to pursue his country project A.K. Corral. The band briefly regrouped with James Rivera on vocals before deciding that Flotsam simply couldn’t continue without Eric A.K.

Between 2002 and 2003 the band played sporadic shows with Eric back at the microphone. In 2004 they signed with Crash Music, toured with Overkill and Death Angel, and released their first DVD, Live in Phoenix, signaling a renewed sense of purpose.

DEATH ANGEL (1998–2004)

During their long hiatus, Mark Osegueda, Rob Cavestany and Andy Galeon formed Swarm, releasing two EPs that went largely unnoticed. Everything changed in 2001 when the Thrash of the Titans benefit concerts brought the Bay Area scene back to life. Death Angel agreed to reunite for the event, though guitarist Gus Pepa was unavailable; longtime friend Ted Aguilar filled in.

The reunion was a massive success. The band played additional shows around the Bay Area, momentum built quickly, and by 2004 Death Angel were performing at Wacken Open Air, their first major European appearance since the early 1990s. In 2004 their comeback album The Art of Dying was released.

OVERKILL (1998–2004)

Overkill remained one of the few thrash bands to release albums consistently throughout the 1990s. In 1997 they issued !!!Fuck You!!! and Then Some, followed later that year by From the Underground and Below, a modern‑sounding but slightly thrashier effort. In 1998 Bobby “Blitz” Ellsworth was diagnosed with nasal cancer but successfully underwent surgery.

The band returned with Necroshine (1999), their tenth studio album, making Overkill the first thrash band to reach that milestone. Guitarist Sebastian Marino left the band that same year, replaced by Dave Linsk. Overkill also released Coverkill (1999), a covers album inspired by Metallica’s Garage Inc., and toured with Annihilator, during which Joe Comeau left Overkill to join Annihilator as vocalist.

In 2000 Overkill released Bloodletting, recorded as a four‑piece and produced by Colin Richardson. Joe Comeau filled in live, and Derek "The Skull" Tailer was later hired as a permanent guitarist. The band followed with the live album and DVD Wrecking Everything (2002). That same year Blitz suffered a minor on‑stage stroke but recovered once again.

Overkill signed with Spitfire Records and released Killbox 13 (2003), a clear step back toward their classic thrash sound.

Overkill - Killbox 13 (2003)

SODOM (1998–2004)

Sodom entered this era with ’Til Death Do Us Unite (1997), a raw and punk‑infused record that went largely unnoticed during thrash’s commercial drought, even though it was a pretty solid record. In 1999 they roared back with Code Red, a full‑scale return to their 1980s thrash aggression. The album helped re‑establish Sodom’s reputation, even if the wider metal world wasn’t yet paying attention.

Everything changed with M‑16 (2001), a concept album inspired by Apocalypse Now and the horrors of the Vietnam War. It was one of the strongest releases of their career and marked their return to the Steamhammer label. In 2002 Kreator, Destruction and Sodom went on a tour together called Hell Comes To Your Town, which yours truly witnessed. In 2003 they released the live album One Night in Bangkok, capturing the band’s renewed intensity. In 2004 the band release a three hour long documentary video called Lords of Depravity.

KREATOR (1998–2004)

Kreator spent the late 1990s exploring gothic, industrial and groove‑metal influences on Outcast (1997) and Endorama (1999). Both albums divided fans and saw the band’s popularity decline. In 2001 guitarist Tommy Vetterli left, replaced by Finnish guitarist Sami Yli‑Sirniö, whose melodic sensibilities helped reshape Kreator’s sound.

Later that year Kreator released Violent Revolution, a triumphant return to thrash metal. The album was a major success and introduced the band to a new generation of fans. They followed with the live album and DVD Live Kreation (2003), solidifying their comeback.

DESTRUCTION (1999–2004)

After a decade away, Schmier returned to Destruction in 1999, reuniting with Mike Sifringer and bringing in drummer Sven Vormann. The band immediately landed slots at major German festivals: Wacken, Bang Your Head and With Full Force and they signed a deal with Nuclear Blast.

Their comeback album All Hell Breaks Loose (2000) was well received, but it was The Antichrist (2001) that truly re‑established Destruction as a dominant force. The album was a massive success, and the subsequent 2001–2002 European tour with Kreator and Sodom became a landmark moment in the thrash revival. Destruction released Metal Discharge in 2003, their final album for Nuclear Blast.

ARTILLERY (1998–2004)

Following the release of the compilation Deadly Relics (1998), Artillery reformed with new drummer Peter Møller Nielsen, formerly of Invocator. The band recorded B.A.C.K. (1999), released through Die Hard Music, marking their first studio album in nearly a decade. Despite strong material, the band disbanded again in 2000.

Artillery - B.A.C.K. (1999)

NASTY SAVAGE (1998–2004)

Florida’s cult power/thrash pioneers Nasty Savage had been inactive through most of the 1990s, but the early 2000s revival energy pulled them back into the scene. After reuniting for select shows around 2002, the band regained momentum and entered the studio for the first time in over a decade. The result was Psycho Psycho (2004), their first full‑length since Penetration Point (1991). Their reactivation also helped strengthen the broader early‑2000s thrash resurgence, proving that even the most cult‑level bands could rise again.

Nasty Savage - Psycho Psycho (2004)

AGENT STEEL (1998–2004)

Agent Steel had already reunited once in the late 1990s, but the early 2000s saw them fully active again. With Bruce Hall on vocals, the band released Omega Conspiracy (1999), a modernized but unmistakably Agent Steel‑sounding record that blended speed metal, thrash and their trademark sci‑fi themes. The album was well received in the underground and positioned Agent Steel as one of the few 80s speed/thrash bands who managed to return with a genuinely strong studio effort rather than just nostalgia. The same can be said about 2003's Order of the Illuminati. Around this period Agent Steel were excelling in their field while, These two records are amongst the best of the late 90's and early 2000's era.

Agent Steel - Omega Conspiracy (1999)

ANNIHILATOR (1998–2004)

Unlike many of their peers, Annihilator never truly disappeared, Jeff Waters kept the band alive through the entire 1990s, even as thrash collapsed commercially. Between 1998 and 2004, Annihilator released a string of albums (Criteria for a Black Widow, Carnival Diablos, Waking the Fury and All For You) during this era their sound was real modern and groove influenced, which divided a lot of their old fans. Their constant touring, especially in Europe, helped maintain interest in the band when most bands were inactive.

WHIPLASH (1998–2004)

After two not so well-received albums in Cult of One and Sit Stand Kneel Prey the decided to

go for a more old school thrash metal sound in Thrashback (1998). A deliberate return to their classic 80's sound, but the momentum faded quickly and Whiplash slipped back into inactivity. In 2002 long‑time bassist Tony Bono passed away, which effectively shut the band down for several years.

INFERNÄL MÄJESTY (1998–2004)

Canada’s Infernäl Mäjesty had been a cult favorite since their 1987 debut None Shall Defy, a record that blended thrash with early death‑metal darkness long before it became fashionable. After a long period of silence, the band reactivated in the late 1990s and early 2000s, performing shows and slowly rebuilding their presence in the underground. In 1998 they released Unholier Than Thou and in 2004 One Who Points To Death came out. Solid records but they couldn't live up to the hype of their excellent debut record from 1987.

HIRAX (1998–2004)

Hirax had been dead in the water since the late 80s, but around 2000 Katon W. De Pena dragged the name back from the grave with a new lineup. The comeback started small with the El Diablo Negro EP in 2000 and the Barrage of Noise mini‑CD in 2001, plus the archival live release Blasted in Bangkok the same year, which reminded everyone how vicious the original band had been. The real statement, though, was The New Age of Terror in 2004, Hirax’s first full‑length since the 80s, and a feral, high‑speed record that plugged them straight into the early‑2000s thrash resurgence, with festival slots and international shows following in its wake. At Sweden Rock Festival in 2004 for example with yours truly in the audience.